On House Arrest with Mohawk Johnson CPD Has Tried to Turn the Rapper and Comedian Into a Cautionary Example to Social Justice Protesters
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Cooking School
stonewall kitchen COOKING SCHOOL um2016 demonstration classes 2 Stonewall Lane | York, ME 03909 | 877.899.8363 | stonewallkitchen.com/cookingschool SWK_CSBrochure_May-Aug2016.indd 1 3/10/16 3:24 PM armer weather means fresh garden produce, may •What Generous portions Expect? of each course picnics, cookouts and fun outdoor get-togethers and a complete recipe packet to recreate cookbook signing with family and friends! In keeping with the the meal at home! season we have lots of great summer classes • Complimentary water, coffee and tea Sunday | May 1 | 11:30am-1:00pm like “Hot Summer Night,” “Grillin’ and Chillin’” during class. Wine and beer may also Wand “Summer Temptations,” as well as many holiday-themed classes or be purchased. Guests 21 years and older. Brunch amazing international cuisine. In addition to our very talented staff chefs, No alcohol may be brought in from outside the school. danaat the moos & some very special guest chefs will be joining us including cookbook • Classroom seating is on a fi rst-come, $55 author Edward Lee who is a three-time James Beard Foundation Award fi rst-served basis, so please plan to arrive Former innkeeper, Dana Moos, shares her finalist for Best Chef and an Iron Chef America winner. Executive chef early in order to sit with companions. go-to brunch dishes. and owner of NYC-based restaurant, The Eddy, Brendan McHale Handicapped accessible seating is • Watermelon and Kiwi Salad with will be here as well as cookbook authors Dana Moos, Maureen Abood limited to four seats per class. The Coconut Lime Crème and Lime Zest and accomplished chef, cookbook author and James Beard Award classroom is air-conditioned and temperature may vary during the course • Poached Eggs over Crispy Potato Pancakes winner, Sanford D’Amato. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
Executive of the Week: Dreamville Co-Founder Ibrahim 'Ib
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MAY 28, 2021 Page 1 of 20 INSIDE Executive of the Week: Dreamville • How Does Co-Founder Ibrahim ‘Ib’ Hamad Humbleriot Founder Anthony Demby Stay BY DAN RYS Mindful? When J. Cole released his sixth studio album, The Off- tinue breaking new ground and how management has • Identity, Awareness Season, out on Dreamville/Roc Nation/Interscope, it evolved in the decade since he and Cole made their & Representation: An AAPI Heritage Month launched a tidal wave that swept over the charts. The breakthrough in 2011. Conversation With release landed Cole his sixth straight No. 1 on the J. Cole’s The Off-Season became his sixth No. 1 Young the Giant’s Billboard 200, all 12 songs in the top 40 of the Hot album on the Billboard 200. What key decisions Sameer Gadhia 100, a record-tying four in the top 10, and leading to did you make to help make that happen? • Garth Brooks his first-ever time topping the Hot 100 Songwriters I don’t think it’s any one decision that I would sit Remembers chart, the Streaming Songs chart and the Hot Rap here and take credit for personally, because every de- Dewayne Blackwell, Songs and Hot R&B/Hip-Hop Songs charts. cision is made together with Cole. The way Cole and ‘Friends in Low In short, it was a monumental album release in I have grown to work together, we talk about every Places’ Songwriter: a career that has seen several of them. And it earns decision before we press go. -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Phd, I Have Outlined the Main Concepts and Principles of Reasoning Behind Them
University of Huddersfield Repository Bernier, Nicolas Five object-based sound compositions Original Citation Bernier, Nicolas (2013) Five object-based sound compositions. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/23294/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ ! FIVE OBJECT-BASED SOUND COMPOSITIONS Nicolas Bernier Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy School of Music, Humanities and Media University of Huddersfield December 2013 ! ! ! ! ! ! ! “the measure of a work of art is whether one can sense in it the presence of the artist’s body. If so, then it is a success, and if not, it’s a failure.”— Pierre Hébert ! !ii TABLE OF CONTENT Abstract v Acknowledgement vi Introduction 1 PART I 4 OBJECT, PERFORMANCE, VISION 4 1. -
The Menstrual Cramps / Kiss Me, Killer
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 279 October Oxford’s Music Magazine 2018 “What was it like getting Kate Bush’s approval? One of the best moments ever!” photo: Oli Williams CANDYCANDY SAYSSAYS Brexit, babies and Kate Bush with Oxford’s revitalised pop wonderkids Also in this issue: Introducing DOLLY MAVIES Wheatsheaf re-opens; Cellar fights on; Rock Barn closes plus All your Oxford music news, previews and reviews, and seven pages of local gigs for October NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk host a free afternoon of music in the Wheatsheaf’s downstairs bar, starting at 3.30pm with sets from Adam & Elvis, Mark Atherton & Friends, Twizz Twangle, Zim Grady BEANIE TAPES and ALL WILL BE WELL are among the labels and Emma Hunter. releasing new tapes for Cassette Store Day this month. Both locally- The enduring monthly gig night, based labels will have special cassette-only releases available at Truck run by The Mighty Redox’s Sue Store on Saturday 13th October as a series of events takes place in record Smith and Phil Freizinger, along stores around the UK to celebrate the resurgence of the format. with Ainan Addison, began in Beanie Tapes release an EP by local teenage singer-songwriter Max October 1991 with the aim of Blansjaar, titled `Spit It Out’, as well as `Continuous Play’, a compilation recreating the spirit of free festivals of Oxford acts featuring 19 artists, including Candy Says; Gaz Coombes; in Oxford venues and has proudly Lucy Leave; Premium Leisure and Dolly Mavies (pictured). -
The Dark Side User Manual
USER MANUAL 1.0.2 EASTWEST | THE DARK SIDE IMPORTANT COMPATIBILITY NOTE! Our Revolutionary New Opus Software Engine Our brand new Opus software engine has been years in development, and replaces the Play engine. All EastWest Libraries (with the exception of the original Hollywood Orchestra, the original Hollywood Solo Instruments, and the MIDI Guitar Series) are supported in Opus, allowing them to take advantage of a faster, more powerful, more flexible, and better looking software engine. Opus comes with some incredible new features such as individual instrument down- loads, customized key-switches, new effects for the mixer page, scalable retina user interface upgrades for legacy products, a powerful new script language, and many more features that allow you to completely customize the sound of each instrument. It’s one of the most exciting developments in the history of our company and will be the launching pad for many exciting new products in the future. Using Opus and Play Together Opus and Play are two separate software products, anything you have saved in your projects will still load up inside the saved Play version of the plugins. You can update your current/existing projects to Opus if you so choose, or leave them saved within Play. After purchasing or upgrading to Opus you do not need to use Play, but it may be more convenient to make small adjustments to an older composition in your DAW loading the instruments saved in Play instead of replacing them with Opus. For any new composi- tion, just use Opus. A Note About User Manuals All EastWest Libraries have their own user manuals (like this one) that refer to instru- ments and controls that are specific to their respective libraries, as well as referencing the Play User Manual for controls that are common to all EastWest Libraries. -
Product Catalog
LOG UCT CATA 2021 PROD Favorite Foods, Inc | Somersworth, NH Your local & family owned Foodservice Distributor Table of Contents Appetizers............................................................. Page 3 Baked Goods........................................................ Page 4 Batters & Doughs.................................................. Page 9 Beans.................................................................... Page 11 Beverages............................................................. Page 12 Breader & Stuffing................................................. Page 17 Cereal & Waffles................................................... Page 18 Chemicals............................................................. Page 19 Condiments & Sauces........................................... Page 22 Crackers & Snacks................................................ Page 29 Dairy...................................................................... Page 30 Extracts & Syrups.................................................. Page 49 Frostings & Fillings.................................................Page 42 Fruit....................................................................... Page 44 Meat...................................................................... Page 45 Mixes & Flour........................................................ Page 60 Muffins & Pastries................................................. Page 64 Non Foods............................................................ Page 66 Oil & Shortening................................................... -
TREE of CLUES: a Packet for Popheads
TREE OF CLUES: a packet for popheads Written by Kevin Kodama 1. In one song by this artist, a background clicking noise slows down as she sings “I found another way / To caress my day”. One of this artist’s videos is a single shot of her as both a giant goddess and tiny dancers that slowly zooms out. A track by this artist that she described as “a medieval march through the destruction of a relationship” laments “I never thought that you would be the one to tie me down”. This artist asks “Why don’t I do it for you” in a video that showcases her pole-dancing skills, and she explained a part of her name as “a selection of letters that sounded... masculine and strong”. For ten points, name this artist who released “Cellophane” for her 2019 album MAGDALENE. ANSWER: FKA twigs (accept Taliah Debrett Barnett) 2. This song’s heavily ad-libbed bridge includes the James Brown-inspired lyric “Good God! I can’t help it!”. In the music video for this song, the artist crawls on the ground sporting white polka dotted lipstick. This song begins with a series of tongue clicking and a breathy “yeah” along with some funky guitars. The video for this song uses pink, purple, and blue lighting in a scene where the artist runs between a male flirt and Tessa Thompson. This song’s artist describes herself as “an emotional sexual bender”, which is a nod to her pansexuality. For ten points, name this top r/popheads track of 2018, a Janelle Monae song that was the lead single for the album Dirty Computer. -
H-France Review Vol. 19 (May 2019), No. 65 Jacques Amblard And
H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (May 2019), No. 65 Jacques Amblard and Emmanuel Aymès, Micromusique et ludismes régressifs depuis 2000. Aix-en- Provence: Presses Universitaires de Provence, 2017. 124 pages. Illustrations, cartes. 7 € (broché). ISBN: 9791032001233. Review by Edward Campbell, University of Aberdeen. Micromusique et ludismes régressifs depuis 2000 by Jacques Amblard and Emmanuel Aymès is a slim volume at 124 pages, but nevertheless a fascinating exploration of a contemporary musical phenomenon. Setting out from the concept of “le redevenir-enfant,” a phrase with more than a hint of the Deleuzian about it (though the philosopher is not mentioned in the text), the book examines a tendency towards infantilisation which the authors trace to the 1830s but which has become much more evident in more recent times with the sociological identification of the “adulescent” in the 1970s and 1980s, certain developments in the plastic arts from the late 1980s, in certain strains of popular music that arose with the availability of personal computers in the late 1980s and 1990s, and finally in aspects of Western art music [“musique savante”] from the new millennium. What Amblard and Aymès term micromusic is also known as chiptune or 8-bits, the post-punk music of geeks and hackers with whom game technologies such as Game Boy are transformed into sources and instruments for music-making. While this, for the authors, is ostensibly regressive and nothing less than the “acme” of infantilisation, it signals at the same time, as the back cover notes, the “subtile inversion” of the player-musician into an anti-consumer within processes of alternative globalisation. -
Electrical Workers and Operators
The Journal ot Electrical Workers and Operators OFFICIAL PUBLICATION OF THE International Brotherhood of Electrical Workers Affiliated with the American Federation of Labor and all Its Departments. OWNED AND PUBLISHED BY THE INTERNATIONAL BROTHERHOOD OF ELECTRICAL WORKERS CHAS. P. FORD} International Secretary, GENERAL OFFICES: REISCR BUILDING SPRINGFIELD, ILL. Subscription, 26c per year, in advance. This Journal will not be held responsible for views exprelllled by corre8ponden•• The tenth of each month is the closiq date; an copy must be in our handa on or Won. Second Cia•• prhilejre applied for at the Post omc.. at Sprin",eld, IDlDOia. under Act of June I.th, 18e•• INDEX. A Quarter Century of Progress. .. 221-227 Around the Circuit. ................................... 271-272 Classified Directory .................................. 287-288 Correspondence ..................• . .. 245-271 Editorial ............................................. 237-241 Elementary Lessons ........................•......... 275-277 Executive Officers ................................... 235 In Memoriam ........................................ 228-234 Local Union Official Receipts .......................... 241-244 Local Union Directory .........._...................... 278-286 Notices ..................•••.....•................... 235-236 Things Electrical .................................... 272-275 THE JOURNAL OF ELECTRICAL WORKERS AND OPERATORS OFFICIAL PUBLICATION OF THE INTERNATIONAL BROTHERHOOD OF ELECTRICAL WORKERS Second CI ... privilege applied for at the Post Office at Springfield. Illinois. under Act of June 26th. 1906 Sinille Copies. 10 Cenb \70';.,. XVI, No.4 SPRINGFielD, ILL., NOVEMBER 1916. 25< per • Year in advance A Quarter Century of Progress ,p Twenty·five years ago this month, No c\About September 1st, 1890, a few men vember 21st, 1891, to be exact, the Broth· came together and against bitter and erhood was born. Attendants at the most senseless opposition formed what is birth pronounced it a bright hardy now Local No.