DOCSLIB.ORG

Submission on the National Classification Scheme Review Discussion Paper Page I 24

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Submission on the National Classification Scheme Review Discussion Paper Page I 24 Submission on the National Classification Scheme Review Discussion Paper to the Australian Law Reform Commission GPO Box 3708, SYDNEY NSW 2001 Telephone: 02 8238 6333 Facsimile: 02 8238 6363 Email: [email protected] Website: www.alrc.gov.au by FamilyVoice Australia 4th Floor, 68 Grenfell St, Adelaide SA 5000 Telephone: 1300 365 965 Facsimile: 08 8223 5850 Email: [email protected] Website: www.fava.org.au 21 November 2011 TABLE OF CONTENTS Introduction .............................................................................................................................. 1 1. Chapter 4: Guiding Principles for Reform ................................................................... 1 2. Proposal 5–1 A new National Classification Scheme ................................................... 2 3. Proposal 5–2 The National Classification Scheme should be based on a new Classification of Media Content Act ............................................................................... 3 4. Proposal 5-3 A single regulator ..................................................................................... 3 5. Proposal 5-4 Platform neutral definitions .................................................................... 4 6. Proposal 6-1 All feature films and commercial television programs to be classified 4 7. Proposal 6-2 Computer games ....................................................................................... 5 8. Proposal 6-3 Exempt content ......................................................................................... 6 9. Proposal 6-4 Classification of X18+ films ..................................................................... 6 10. Proposal 6-5 Content that is likely to be Refused Classification (RC) must be classified ........................................................................................................................... 9 11. Proposal 6-6 Classifying material as RC before taking certain actions ................... 10 12. Proposal 6-7 Classifying modified content ................................................................. 10 13. Proposal 6-8 Industry codes of practice for optionally classified content ............... 11 14. Proposal 7-1 Content required to be classified by the Classification Board ........... 15 15. Proposal 7-2 Authorised industry classifiers .............................................................. 15 16. Question 7-1 Classification of X18+ films ................................................................... 16 17. Proposal 7-3 Use of classification instruments ........................................................... 16 18. Proposal 7-4 Authorisation of industry classifiers ..................................................... 17 19. Proposal 7-5 Authorisation of classification instruments ......................................... 18 20. Question 7-2 Who should provide classification training? ....................................... 18 21. Proposal 7-6 Functions of the Classification Board ................................................... 18 22. Proposal 7-7 Powers of the Regulator ......................................................................... 19 23. Proposal 8-1 Restricting access to content likely to be R18+ .................................... 19 FamilyVoice Submission on the National Classification Scheme Review Discussion Paper Page i 24. Proposal 8-2 Restricting access to content classified R18+ or X18+ ........................ 20 25. Proposal 8-3 No mandatory access restrictions to MA15+ content ......................... 20 26. Proposal 8-4 Methods of restricting access to adult media content ......................... 21 26.1 Restricting access to adult and MA15+ content online ............................................................... 22 26.2 Parental locks and user-based filters ........................................................................................... 23 26.3 Restrictions on the display and sale of print publications and other hardcopy items with adult content................................................................................................................................... 23 27. Question 8-1 Time-zone restrictions ........................................................................... 24 28. Proposal 8-5 Display of classification markings......................................................... 26 29. Proposal 8-6 Advertisements for media content ........................................................ 27 30. Proposal 9-1 Classification categories ......................................................................... 27 30.1 A single set of classification categories ......................................................................................... 28 30.2 Age references in classification categories ................................................................................... 28 30.3 The proposed Teen classification category .................................................................................. 29 30.4 The R18+ and MA15+ classification categories .......................................................................... 30 30.5 Classification of print publications .............................................................................................. 30 31. Proposal 9-2 The C classification ................................................................................ 31 31.1 Examples of films classified G under the 2003 Guidelines ......................................................... 32 31.1.1The Cat in the Hat (File No. T03/2081) ................................................................................ 32 31.1.2Love’s Brother (File No. T03/3145) ..................................................................................... 32 31.1.3Finding Nemo (File No. T03/5) ............................................................................................ 32 31.1.4Prisoner of Paradise (File No. T03/2309) ............................................................................ 32 31.1.5Ned (File No. T03/1191) ....................................................................................................... 33 32. Proposal 9-3 Consumer advice .................................................................................... 33 33. Proposal 9-4 Statutory classification criteria ............................................................. 33 34. Proposal 9-5 Regular review of community standards ............................................. 34 35. Proposal 10-1 Refused classification category ............................................................ 34 35.1 Suicide related material ................................................................................................................ 35 35.2 Actual sex ....................................................................................................................................... 36 36. Proposal 11-1 Industry classification codes of practice ............................................. 36 37. Proposal 11-2 Matters to be included in codes of practice ........................................ 37 FamilyVoice Submission on the National Classification Scheme Review Discussion Paper Page ii 38. Proposal 11-3 Regulator approval of codes of practice ............................................. 37 39. Proposal 11-4 Enforcement powers for codes of practice ......................................... 38 40. Question 12-1 Complaints-handling function ............................................................ 39 41. Proposal 12-1 A new Regulator ................................................................................... 40 42. Proposal 13-1 The new Classification of Media Content Act should be enacted pursuant to the legislative powers of the Parliament of Australia. .......................... 41 43. Proposal 13–2 State referrals of power ....................................................................... 41 44. Proposal 14-1 Enforcement under Commonwealth law ........................................... 42 45. Proposal 14-2 New Intergovernmental Agreement ................................................... 42 46. Proposal 14-3 Offences ................................................................................................. 43 47. Proposal 14-4 Penalties ................................................................................................. 43 48. Proposal 14-5 Infringement notice scheme ................................................................. 44 49. References ...................................................................................................................... 44 FamilyVoice Submission on the National Classification Scheme Review Discussion Paper Page iii Introduction On 24 March 2011, Attorney-General Robert McClelland referred the National Classification Scheme to the Australian Law Reform Commission (ALRC) and asked it to conduct widespread public consultation across the community and industry. The review is to consider issues including existing laws; the current classification categories; the rapid pace of technological change; the need to improve classification information available to the community; the effect of media on children and the desirability of a strong content and distribution industry in Australia. The ALRC has released a discussion paper which makes proposals for a new national classification scheme for media content and called for public submissions on the proposals.
Load more

Recommended publications
  • The Portrayal of African American Women in Hip-Hop Videos
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything.
    [Show full text]
  • 2019 JUNO Award Nominees
    2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal ​ ​ Avril Lavigne BMG*ADA ​ bülow Universal ​ ​ Elijah Woods x Jamie Fine Big Machine*Universal ​ KILLY Secret Sound Club*Independent ​ Loud Luxury Armada Music B.V.*Sony ​ NAV XO*Universal ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ SINGLE OF THE YEAR Growing Pains Alessia Cara Universal ​ ​ ​ Not A Love Song bülow Universal ​ ​ Body Loud Luxury Armada Music B.V.*Sony ​ ​ In My Blood Shawn Mendes Universal ​ ​ Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal ​ ​ INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony ​ ​ Invasion of Privacy Cardi B Atlantic*Warner ​ ​ ​ Red Pill Blues Maroon 5 Universal ​ ​ beerbongs & bentleys Post Malone Universal ​ ​ ASTROWORLD Travis Scott Sony ​ ​ ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone*​ Select ​ ​ These Are The Days Jann Arden Universal ​ ​ Shawn Mendes Shawn Mendes Universal ​ ​ My Dear Melancholy, The Weeknd The Weeknd XO*Universal ​ ​ Outsider Three Days Grace RCA*Sony ​ ​ ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal ​ ​ Michael Bublé Warner ​ Shawn Mendes Universal ​ The Weeknd The Weeknd XO*Universal ​ Tory Lanez Interscope*Universal ​ ​ GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) ​ Arkells Arkells*Universal ​ ​ Chromeo Last Gang*eOne ​ Metric Metric Music*Universal ​ The Sheepdogs Warner ​ Three Days Grace RCA*Sony ​ January 29, 2019 Page 1 of 9 2019 JUNO Award Nominees
    [Show full text]
  • Droppin‟ Knowledge on Race: Hip-Hop, White Adolescents, and Anti-Racism Education
    ISSN: 1941-0832 Droppin‟ Knowledge on Race: Hip-Hop, White Adolescents, and Anti-Racism Education By Steven Netcoh “SPREAD LOVE: COMMANDANTE BIGGIE” ARTISTS: JOHN GARCIA, CERN ONE, SEAN MEENAN PHOTOGRAPH BY CHRIS TINSON RADICAL TEACHER 10 http://radicalteacher.library.pitt.edu No. 97 (Fall 2013) DOI 10.5195/rt.2013.39 1. White Kids and Hip Hop Though white adolescents comprise a large percentage limited in its capacity to mobilize racially just ideologies of Hip Hop‟s audience, relatively few academic studies and politics in white youth (Hayes, 2004; Rodriguez, examine why they readily gravitate toward the music and 2006). One study indicates Hip Hop may in fact hinder how they engage with the culture. The majority of racial progress as many whites use stereotypical scholarship on white adolescents and Hip Hop focuses on representations of black males and females in Hip Hop to how these individuals adapt the music and culture to their legitimize discrimination against black Americans in both local settings. Rodriguez (2006) investigates the racial “personal” and “political behaviors” (Reyna, Brandt, & Viki, ideologies of politically conscious Hip-Hop fans primarily in 2009, p. 374). Additionally, Hip Hop has been a prominent Northampton, Massachusetts. Hayes (2004) examines how cultural force for over twenty years, yet there has been white Canadian youth in rural Ontario identified with Hip little change in white Americans‟ racial discourse, Hop to distinguish themselves from their racially and ideologies, or politics. Since Hip Hop entered the culturally homogenous home community. Cutler (1999) mainstream, color-blindness has been solidified as the explores how a white teenager from one of New York City‟s dominant racial ideology, and the belief that the United wealthiest neighborhoods aligned with Hip-Hop by adopting States is a “post-racial” society has been accepted as African American vernacular English and stereotypical “common sense” (Bonilla-Silva, 2006; Winant, 2002, p.
    [Show full text]
  • A History of Hip Hop in Halifax: 1985 - 1998
    HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the
    [Show full text]
  • Coca-Cola Stage Backgrounder 2016
    May 26, 2016 BACKGROUNDER 2016 Coca-Cola Stage lineup Christian Hudson Appearing Thursday, July 7, 7 p.m. Website: http://www.christianhudsonmusic.com/ Facebook: https://www.facebook.com/ChristianHudsonMusic Twitter: www.twitter.com/CHsongs While most may know Christian Hudson by his unique and memorable performances at numerous venues across Western Canada, others seem to know him by his philanthropy. This talented young man won the prestigious Calgary Stampede Talent Show last summer but what was surprising to many was he took his prize money of $10,000 and donated it all to the local drop-in centre. He was touched by the stories he was told by a few people experiencing homelessness he had met one night prior to the contest’s finale. His infectious originals have caught the ears of many in the industry that are now assisting his career. He was honoured to receive 'The Spirit of Calgary' Award at the inaugural Vigor Awards for his generosity. Hudson will soon be touring Canada upon the release of his first single on national radio. JJ Shiplett Appearing Thursday, July 7, 8 p.m. Website: http://www.jjshiplettmusic.com/ Facebook: https://www.facebook.com/jjshiplettmusic/ Twitter: www.twitter.com/jjshiplettmusic Rugged, raspy and reserved, JJ Shiplett is a true artist in every sense of the word. Unapologetically himself, the Alberta born singer-songwriter and performer is both bold in range and musical creativity and has a passion and reverence for the art of music and performance that has captured the attention of music fans across the country. He spent the major part of early 2016 as one of the opening acts on the Johnny Reid tour and is also signed to Johnny Reid’s company.
    [Show full text]
  • February 18, 2002 TABLE of CONTENTS DUKE DAYS EVENTS CALENDAR
    ■ P*f* M PJ PU.17 PtVMMia Exilarlno artistic firms mm —I»pumn— From boy bands lo 'Oawson s A professional artist presents a collection George Mason University s defense sparks a 72- JMU students discuss thei including intricate m 'Burning King of Fire' 64 comeback win over ]MU in a crucial confer- toward today's pop culture. at the Mitten Gallery. ence game. James Madison University Today: Sunny rN(h:«a REEZE * Low: 22 THEVol. i '', /sM(C ><S Father dies Habitat after D-hall Black Panther Party myths dispelled heart attack Co-founder speaks on party origins; Malcolm X assassination struggles BY DAVID CI.EMENTSON Black Panther Party in 1966 The father of two students senior writer to raise died Thursday after suffering in Oakland, Calif. According a heart attack in D-hall. There are two things that to Jacqueline Walker, associ- William Tarrant III. 49, Bobby Scale, co-founder and ate professor of history, funds collapsed in D-hall around 7 former chairman of the Black many viewed the Black Panther Party, said he really Panthers as a violent, revolu- BY BRANDON HUC.III \K\ fin Thursday, according to contributing writer hates: myths and the assassi- tionary organization aimed Director of University This semester, the |MU Communications Fred nation of Malcolm X. at overthrowing the federal "1 don't care for myths government in an armed chapter of Habitat lor Hilton. People on the scene Humanity will help two and rescue squad paramedics and all that stuff," Seale told Marxist rebellion. 150 people in the 1SAT Health "They called me a hood- underpnvdeged local families administered CPR.
    [Show full text]
  • The Influence of Rap/Hip-Hop Music: a Mixed-Method Analysis by Gretchen Cundiff — 71
    The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis by Gretchen Cundiff — 71 The Influence of Rap/Hip-Hop Music: A Mixed-Method Analysis on Audience Perceptions of Misogynistic Lyrics and the Issue of Domestic Violence Gretchen Cundiff* Strategic Communications Elon University Abstract Using a qualitative content analysis and online survey, this research examined how college students perceive and respond to the portrayal of women when exposed to misogynistic lyrics. Based on cultivation theory, this study analyzed the lyrical content of popular rap and hip-hop songs (n=20) on Billboard’s “Hot 100” chart between 2000 and 2010. Song lyrics were classified into one or more of the following coding categories: demeaning language, rape/sexual assault, sexual conquest and physical violence. Themes of power over, objectification of and violence against women were identified as prevalent throughout the content analysis sample. Survey results indicated a positive correlation between misogynous thinking and rap/hip-hop consumption. I. Introduction This study examined the culture of rap/hip-hop music and how misogynistic lyrical messages influ- enced listeners’ attitudes toward intimate partner violence. Adams and Fuller (2006) define misogyny as the “hatred or disdain of women” and “an ideology that reduces women to objects for men’s ownership, use, or abuse” (p. 939). Popular American hip-hop and rap artists, such as Eminem, Ludacris and Ja Rule, have increasingly depicted women as objects of violence or male domination by communicating that “submission is a desirable trait in a woman” (Stankiewicz & Rosselli, 2008, p. 581). These songs condone male hegemony in which “men find the domination and exploitation of women and other men to be not only expected, but actu- ally demanded” (Prushank, 2007, p.
    [Show full text]
  • Out of Shape? Blame Mcdonald's
    VOLUME EIGHT NUMBER 2 Understanding the Law May Change Your Tune About Downloading Music by Cheryl Baisden Chances are you know better than to walk out of a store with a CD of your favorite band stuffed in your jacket pocket. Everyone knows that is a form of stealing that can land you in jail. But what you may not know is that downloading music from the Internet can be considered stealing too, and the penalties for doing it can be just as severe. “Downloading music from the Internet is like being a member of a bad gang,” said Ronald S. Bienstock, a lawyer who works with WINTER2004 musicians and other artists. “You may not think it will happen, but someone’s going to get hurt. And the best thing for you to do is to not join, or get out OutOut ofof Shape?Shape? fast if you’re already involved.” While it may seem like a victimless crime, there are plenty Blame McDonald’s of people who get hurt when you by Roberta K. Glassner, Esq. “misleading advertising” which the plaintiffs claimed download your favorite 50 Cent led them to believe McDonald’s food was healthy. or Linkin Park song, Bienstock Five days a week, 19-year-old Jazlyn crossed under The second charge also dealt with advertising, but this explained. Everyone involved in the golden arches twice a day to eat an Egg McMuffin time with “deceptive advertising.” The teens claimed the production and distribution for breakfast and a Big Mac, super-size fries and an McDonald’s ads did not disclose the actual fat content of the song, from the musicians apple pie for dinner.
    [Show full text]
  • December 13, 2010
    2012 JUNO Awards and JUNO Week Events Guide - As of February 24 - Gordon Lightfoot Canadian Railroad Trilogy – Sponsored by the Ontario Media Development Corporation (OMDC) Dates: March 4 – September 9, 2012 Time: Open daily, please visit www.sciencetech.technomuses.ca for hours of operation Location: Canada Science and Technology Museum, 1867 Saint Laurent Boulevard, Ottawa, ON What: An exhibition commemorating the story of the Canadian Railroad Trilogy with 29 original pastel drawings by Canadian author/illustrator Ian Wallace, highlighting Gordon Lightfoot‟s iconic song of the same name. Purchase Details: Please visit www.sciencetech.technomuses.ca for admission prices. Media Contact: Adrienne Kakoullis, Holmes Creative Communications, 416-628-5610, [email protected] “JUNO Rocks” Gardens Date: March 16 – 25, 2012 Time: Open daily, please visit www.canadablooms.com for hours of operation Location: Direct Energy Centre – Hall A, 100 Princes‟ Boulevard, Toronto, ON Participating Artists: Feist, Jann Arden, Keshia Chanté, Royal Wood and Sarah Slean What: The “JUNO Rocks” Gardens will return this year to Canada‟s largest flower and garden festival! JUNO Award nominees and winners Feist, Jann Arden, Keshia Chanté, Royal Wood and Sarah Slean are partnering with professional landscape artists to design and create gardens to reflect their personal styles and tastes. Purchase Details: Please visit www.canadablooms.com for admission prices. Media Contact: Adrienne Kakoullis, Holmes Creative Communications, 416-628-5610, [email protected] Celebrating the JUNOS: Photographs and Album Artwork Date: March 16 – April 9, 2012 Time: Open daily, please visit www.civilization.ca for hours of operation Location: Canadian Museum of Civilization – W.E.
    [Show full text]
  • Brockway Biggs Biography
    Brockway Biggs Biography Fredericton-native Brockway Biggs, formerly Pimp Tea, is an Ottawa-based rapper & music enthusiast who won over diverse crowds from the late 90s until a concussion in 2011. As an artist, Biggs won an East Coast Music Award (ECMA) in 2005, while receiving 4 ECMA, 2 CUMA and 1 OIMA nominations over the years. He’s performed or been featured on dozens of TV & radio stations, newspapers & magazines. His resume includes hundreds of shows, a 2008 cross-Canada tour and dozens of festival performances. As a writer, he spent 4 years writing for HipHopCanada.com (2001-2005) with features, interviews and reviews of some of Canada’s finest. His publicity company, Brockway Entertainment, ran campaigns for dozens of artists including Classified, Eternia, Skratch Bastid, JRDN, Jorun, Wordburglar & D.O. Gibson. In 2021, Biggs is excited to be working on new material. This is the next step in his continuing recovery from his 2011 concussion. *** Biggs imparts an infectious energy at every show, leaving his music described as a "breath of fresh air." His entertaining stage presence is cultivated from the vintage vibe of storytelling, crowd participation, props and dance moves. Biggs has been featured or performed on most major TV networks including MusiquePlus, MuchMusic, Global TV, City TV, CBC & CTV. He’s charted on 40+ radio stations and is approaching 100K views on YouTube. He’s collaborated with Gordie Johnson, Nelly's label, Classified, Skratch Bastid, D.O., J-Bru & more. www.BrockwayBiggs.com www.linktr.ee/brockwaybiggs Biggs has played hundreds of shows in dozens of cities, including 6 tours.
    [Show full text]
  • Classified, Johnny Reid, and Serena Ryder to Co-Host CTV's Broadcast
    MEDIA RELEASE ctvmedia.ca twitter.com/CTV_PR twitter.com/theJUNOAwards Classified, Johnny Reid, and Serena Ryder to Co-Host CTV’s Broadcast of THE 2014 JUNO AWARDS #### Broadcast Details Announced for the Biggest Night in Canadian Music, March 30 on CTV – Classified and Serena Ryder to perform together to open the 2014 JUNO AWARDS – – Bell Media to present seven encore broadcasts of Canada’s Music Awards – – THE 2014 JUNO AWARDS air Sunday, March 30 from Winnipeg’s MTS Centre – – Tickets available now through www.ticketmaster.ca – To tweet this release: http://bit.ly/NObRiB TORONTO (March 4, 2014) – CTV and The Canadian Academy of Recording Arts and Sciences (CARAS) announced today platinum-selling hip hop artist and 2013 JUNO Award winner Classified, platinum-selling and three-time JUNO Award-winning artist Johnny Reid, and hit-making, 2014 JUNO performer and multi-platinum-selling, four-time JUNO Award winner Serena Ryder as co-hosts of THE 2014 JUNO AWARDS. It was also announced that Classified and Serena Ryder are set to perform together to open the two-hour award show. CTV also revealed today broadcast details for the Sunday, March 30 JUNO AWARDS broadcast across the country. Canada’s preeminent music awards airs live from MTS Centre in Winnipeg on CTV and CTV GO at 8 p.m. CT/9 p.m. ET in Manitoba and all markets East, and at 9 p.m. locally in all markets West of Manitoba. THE 2014 JUNO AWARDS will enjoy seven encore broadcasts across CTV as well as Bell Media specialty channels Much and M3.
    [Show full text]
  • The Paradoxical Position of the White Rapper in Hip- Hop Music: a Genre Fixated on Authenticity
    Faculteit Letteren & Wijsbegeerte Sofie Balliu The Paradoxical Position of the White Rapper in Hip- Hop Music: A Genre Fixated on Authenticity An Analysis of the Use of African-American English in the Music of Eminem, Iggy Azalea, and Classified Masterproef voorgedragen tot het behalen van de graad van Master in de taal- en letterkunde Duits – Engels 2015 Promotor Prof. Dr. Stef Slembrouck Vakgroep Engelse Taalkunde 1 I. Acknowledgements I would like to thank my supervisor prof. dr. Stef Slembrouck for allowing me to pursue the topic of hip-hop for my master’s dissertation. His insightful remarks have enabled me to think critically about a genre that I am fond of. Furthermore, his commentaries have influenced my thinking process and approach to hip-hop in general. I also want to thank my family for their support and my stepfather Luc in specific for his helpful reflections and valuable opinions that help shape mine. Moreover, I have enjoyed reading the works of other hip-hop scholars who have provided me with relevant knowledge as well as the website RapGenius. Finally, my appreciation goes out to the artists J. Cole, Eminem, Iggy Azalea, and Classified. J. Cole has produced an album that I count as one of my latest favorites, and the White rappers’ work has opened up my perspective on hip-hop music. 2 i. Acknowledgements…………………………………………....………………...3 ii. Table of Contents……………………………………...…………………………4 iii. List of Figures……………………………………………………………………6 PART I 1 Introduction……………………………………………………..……………………6 2 Introduction to Hip-hop………………………………...…………………………..10
    [Show full text]