DJ LOGIC LOSES TRADEMARK CLAIM | Page 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
The Cowl 3 Featured Friars Participate in Alternate Spring Breaks Students Build Homes and Hope for Habitat for Humanity
Providence College Alternative M T e SINCEl 1935 thecowl.com w Vol. LXXXII No. 19 March 15, 2018 Co Bulletin Board Controversy Students Call for Action from spring break. However, this wanted to voice their opinions on would not be capable of by Catherine Brewer ’20 time it bore a message stating its the matter to Goodwin and other fully addressing students’ News Staff approval from Vice President of administrators in attendance. questions in regard to On Campus Student Affairs Kristine Goodwin, Dean of Students Steven Sears and the incident and further despite the lack of any school Director of Residence Life Jana actions of the College On Thursday, March 2, policy that requires topic approval Valentine were not in attendance because more information a bulletin board promoting for bulletin boards, even through due to a meeting with the residence was still being gathered. marriage between one man Residence Life. staff of St. Joseph Hall. “I always try to resist and one woman was created Students reacted quickly to the The meeting began with the reacting,” Goodwin by Resident Assistant board’s reappearance, and as a executives of PC’s LGBTQ+ explained. This became Michael Smalanskas '18 result, Goodwin was invited to advocate organization, SHEPARD, a common thread that on the second floor of St. speak at an open, weekly meeting addressing the audience. “LGBT ran throughout the Joseph Hall at Providence for the Board of Multicultural students exist on this campus, meeting, as she and College. Soon after, it was Student Affairs on Monday night in we are here, we deserve the same Father Gabriel Pivarnik, photographed and spread Moore Hall. -
M-Phazes | Primary Wave Music
M- PHAZES facebook.com/mphazes instagram.com/mphazes soundcloud.com/mphazes open.spotify.com/playlist/6IKV6azwCL8GfqVZFsdDfn M-Phazes is an Aussie-born producer based in LA. He has produced records for Logic, Demi Lovato, Madonna, Eminem, Kehlani, Zara Larsson, Remi Wolf, Kiiara, Noah Cyrus, and Cautious Clay. He produced and wrote Eminem’s “Bad Guy” off 2015’s Grammy Winner for Best Rap Album of the Year “ The Marshall Mathers LP 2.” He produced and wrote “Sober” by Demi Lovato, “playinwitme” by KYLE ft. Kehlani, “Adore” by Amy Shark, “I Got So High That I Found Jesus” by Noah Cyrus, and “Painkiller” by Ruel ft Denzel Curry. M-Phazes is into developing artists and collaborates heavy with other producers. He developed and produced Kimbra, KYLE, Amy Shark, and Ruel before they broke. He put his energy into Ruel beginning at age 13 and guided him to RCA. M-Phazes produced Amy Shark’s successful songs including “Love Songs Aint for Us” cowritten by Ed Sheeran. He worked extensively with KYLE before he broke and remains one of his main producers. In 2017, Phazes was nominated for Producer of the Year at the APRA Awards alongside Flume. In 2018 he won 5 ARIA awards including Producer of the Year. His recent releases are with Remi Wolf, VanJess, and Kiiara. Cautious Clay, Keith Urban, Travis Barker, Nas, Pusha T, Anne-Marie, Kehlani, Alison Wonderland, Lupe Fiasco, Alessia Cara, Joey Bada$$, Wiz Khalifa, Teyana Taylor, Pink Sweat$, and Wale have all featured on tracks M-Phazes produced. ARTIST: TITLE: ALBUM: LABEL: CREDIT: YEAR: Come Over VanJess Homegrown (Deluxe) Keep Cool/RCA P,W 2021 Remi Wolf Sexy Villain Single Island P,W 2021 Yung Bae ft. -
Five Professors Awarded Tenure Wabash Unveils Partnership With
OSCAR PREDICTIONS SEE PAGE FIVE FEBRUARYAUGUST 30, 7, 20192020 Five Professors Awarded Tenure I got really interested in that question interested in nature and all living because logic seems like a very hard things. “I grew up in a fairly rural part case for answering that question. […] of Minnesota, and we had probably Part of what you’re going to be doing about 100 acres of forest behind us,” [to justify something’s rationality] is Carlson said. “I spent my childhood using logic and trying to answer that exploring, catching animals, watching question. But if logic itself is the thing animals, climbing trees and sitting that you’re trying to figure out whether there as night fell, and then wait for you should believe it, and you’re trying animals to come by as I just sat there. to use logic to believe that, then there’s I just always loved observing what a kind of vicious circularity going was going on and I loved books. […] on. […] I wouldn’t say that I’ve fully Ecology is basically going outside and answered these questions, but I’ve then reading a book about it.” Carlson gotten better at articulating them.” decided to teach in light of a summer Carlson continues to explore how and research opportunity he had his junior why logic is valid in his research. At year at Bethel University, in Minnesota. the same time, he combined his passion “I like making discoveries,” Carlson for video games with philosophy to said. “I like being on the edge of our both do research and teach a class knowledge. -
Vmas” Airing Live on Monday, August 20 at 9:00 PM ET/PT
Ariana Grande, Shawn Mendes and Logic with Ryan Tedder Set to Perform at the 2018 “VMAs” Airing Live on Monday, August 20 at 9:00 PM ET/PT August 2, 2018 NEW YORK--(BUSINESS WIRE)--Aug. 2, 2018-- MTV today announced that Ariana Grande, Shawn Mendes and Logic with Ryan Tedder will take the stage at the 2018 “VMAs.” Grande will perform her smash hit single “God is a Woman” from her forthcoming album “Sweetener,” while Mendes will deliver his chart-topping song “In My Blood,” and Logic will perform his new single, “One Day,” featuring Ryan Tedder of OneRepublic, for the first time. As previously announced, Jennifer Lopez will be honored with the “Michael Jackson Video Vanguard Award.” She is also set to perform at this year’s show for the first time since 2001. The “VMAs” will air live from Radio City Music Hall on Monday, August 20 at 9:00 p.m. ET/PT across MTV's global network of channels in more than 180 countries and territories, reaching more than half a billion households around the world. The full list of nominees for the 2018 “VMAs” is available here. Additional performers will be announced at a later date. Multiplatinum, record-breaking superstar Ariana Grande has delivered three platinum-selling albums and surpassed 18 billion streams, in addition to nabbing four Grammy Award nominations and landing eight hits in the Top 10 on the Billboard Hot 100 chart. With the release of “No Tears Left To Cry” she became the first artist in music history to see the lead single from her first four albums debut on the Top 10 on Billboard Hot 100. -
Understanding Black Feminism Through the Lens of Beyoncé’S Pop Culture Performance Kathryn M
Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2018 I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance Kathryn M. Butterworth Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Feminist, Gender, and Sexuality Studies Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Butterworth, Kathryn M., "I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance" (2018). Honors Projects. 81. https://digitalcommons.spu.edu/honorsprojects/81 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. I GOT HOT SAUCE IN MY BAG: UNDERSTANDING BLACK FEMINISM THROUGH THE LENS OF BEYONCÉ’S POP CULTURE PREFORMANCE by KATHRYN BUTTERWORTH FACULTY ADVISOR, YELENA BAILEY SECOND READER, CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2018 Approved_________________________________ Date____________________________________ Abstract In this paper I argue that Beyoncé’s visual album, Lemonade, functions as a textual hybrid between poetry, surrealist aesthetics and popular culture—challenging the accepted understanding of cultural production within academia. Furthermore, Lemonade centers black life while presenting mainstream audiences with poetry and avant-garde imagery that challenge dominant views of black womanhood. Using theorists bell hooks, Stuart Hall, Patricia Hill- Collins and Audre Lorde, among others, I argue that Beyoncé’s work challenges the understanding of artistic production while simultaneously fitting within a long tradition of black feminist cultural production. -
Rap Music As Resistance and Its Limits, Two Diverging Cases: Sulukule and Bağcılar Rap
Rap Music as Resistance and Its Limits, Two Diverging Cases: Sulukule and Bağcılar Rap Umut Mişe, Boğaziçi University, Turkey Abstract In the city of Istanbul, where problems such as poverty, discrimination and exclusion are widespread, young people who live in poorer communities use rap music as an instrument of resistance and as a tool for expressing frustration towards their socio-economic exclusion. In two neighborhoods, Sulukule and Bağcılar, young people who socialize around rap music reflect both the reality of these neighborhoods and their struggle against social stigmatization. Rappers from these communities do not only sing about the local issues, but they also touch upon social inequality, justice, and freedom beyond their locality. Yet some rappers also try to disseminate their arts through social media, earn money, and become famous. As a result, their lyrics become more moderate. Indeed, the discourse of Bağcılar rappers who prefer to “amateurishly” publish their works on social media – unlike Sulukule rappers who release professionally produced albums – becomes more moderate in terms of critique and resistance, as the competitive market logic dominates their logic when writing new songs. Introduction In the last few years, rap music in Turkey has come to the fore in a politically significant form. The fact that famous rappers such as Ezhel, Khontkar, and Young Bego, among many others, were imprisoned for their provocative music increased the political significance of rap music in Turkey. A recent song called “Susamam,” by 14 different rappers and groups, has gained much attention, as it was purely oppositional and politically straightforward. However, this is not the whole story. -
A Wild Stab in the Dark: Exposing Eminem's Existentialism
A Wild Stab in the Dark: Exposing Eminem’s Existentialism Daniel Ragusa AS 112 “Encountering Unbelief” Due: 12/6 1 Abstract This paper attempts to apply the principles of covenantal apologetics to today’s cultural milieu by using the latest music album by American rapper, Eminem, as a gateway into today’s postmodern thinking. The worldview of Eminem developed in his latest album, The Marshal Mathers LP2 (2013), will be shown to have deep affinity with the atheistic existentialism of Friedrich Nietzsche, the father of postmodernism. This allows the philosophical thought of Nietzsche to penetrate today’s culture without anyone actually reading his books, but simply listening to its application in the lyrics of Eminem and other influential artists that espouse a fundamentally similar philosophy. After establishing Eminem’s worldview, there will be provided an internal critique of it in terms of its metaphysics, epistemology and ethics, as well as its inability to account for the one and the many. It will become evident that Eminem’s worldview is far from a coherent system and must either borrow capital from the Christian worldview or spiral into total absurdity. Introduction The average person today is not reading thick volumes of philosophy to establish his worldview, but he does have headphones on. Within the first two weeks of its release, Eminem’s latest album—The Marshall Mathers LP2 (2013)1—went platinum with over one million people purchasing it.2 The album is an amalgam of raw anger, unwavering resolve, and deep-felt despair masterfully merged into unprecedented lyrical brilliance. The devilish fantasies of MMLP2 survey a wide spectrum of depraved thinking. -
Generative Elements in Kendrick Lamar's to Pimp a Bu Erfly
This Flow Ain’t Free: Generative Elements in Kendrick Lamar’s To Pimp a Buerfly John J. Maessich NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.19.25.1/mto.19.25.1.maessich.php KEYWORDS: Hop hop, hip-hop, flow, Kendrick Lamar, popular music, semiotics, cultural studies ABSTRACT: This article presents analyses of three songs from To Pimp a Buerfly with respect to the relationship between Lamar’s flow and the instrumental track in each song. A spectrum of flow is proposed, which consists of flow that is at one extreme derivative (metrically and hypermetrically aligned with the instrumental track) and at the other generative (flow and instrumental track are discontinuous). This framework is then considered with respect to normative stylistic considerations and used as a means of interpretation in tandem with the lyrics. Received DATE Volume 25, Number 1, April 2019 Copyright © 2019 Society for Music Theory [1] In his article “On the Metrical Techniques of Flow in Rap Music,” Kyle Adams defined flow in rap music as “all of the rhythmical and articulative features of a rapper’s delivery of the lyrics” (Adams 2009, [6]). He outlines how delivery can affect the expressive quality of the song, discussing a variety of rhythmic techniques that include the placement of accented syllables in relation to the beat, as well as the variance of note length and subdivisions of the beat. He summarizes the defining characteristics of flow into two main categories: metrical techniques and articulative techniques. -
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. -
Trouble Downloading Free Logic Everybody Album from Site Trouble Downloading Free Logic Everybody Album from Site
trouble downloading free logic everybody album from site Trouble downloading free logic everybody album from site. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a40544c91f15f8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Trouble downloading free logic everybody album from site. Logic – Everybody Full Album leak Download link MP3 ZIP RAR Logic - Everybody has it leaked?, Logic - Everybody album download, Logic - Everybody download album, Logic - Everybody download mp3 album, Logic - Everybody download zip, Logic - Everybody download, Logic - Everybody FULL ALBUM, Logic - Everybody has it leaked, Logic - Everybody LEAK ALBUM, Logic - Everybody leak, Logic Everybody download, Logic Everybody full album leaked download, Logic Everybody 320 kbps, Logic Everybody album, Logic Everybody album download, Logic Everybody album leaked. Artist: Logic Album: Everybody Year: 2017 Genre: East Coast Hip Hop, Hip Hop, Rap. Stream & Download Logic’s New 13-Track Album ‘Everybody’ Logic ’s new 13-track album Everybody is now available! The project brings on features from Run The Jewels’ Killer Mike, Juicy J, Khalid, Alessia Cara, famous scientist Neil deGrasse Tyson and more. -
Intimacy, Authenticity and 'Worlding' in Beyoncé's Star Project
8 Intimacy, Authenticity and ‘Worlding’ in Beyoncé’s Star Project Phoebe Macrossan At the 2014 MTV Video Music Awards, African-American pop star Beyoncé Knowles-Carter (known professionally as Beyoncé) performed a 12-song medley from her self-titled visual album, Beyoncé (2013), recreating its imagery across moving stages, treadmills, giant screens and a large troupe of dancers. To open this typically large-scale performance, she said, ‘MTV, welcome to my world’. This choice of words is interesting because, as a dominant figure in the popular music scene, Beyoncé hardly need introduce herself. What this moment captures, however, is the increasing personal intimacy of Beyoncé’s stardom, and her transition to the active creation and ownership of an identifiable, holistic ‘world’. This chapter argues that Beyoncé’s stardom extends beyond constructing a star image through media texts (Dyer, 1998, p. 10). I argue that her star project, her ongoing construction and maintenance of her stardom is creating an intimate, identifiable, holistic world: ‘Beyoncé World’. I use the term ‘star project’ because there is no beginning, middle and end as suggested by a term like ‘star narrative’, and because worlding is more encompassing and widespread than the term ‘star image’ put forward by Richard Dyer (1998, p. 10), although it is a continuation of it. 137 POPULAR MUSIC, STARS AND STARDOM Beyoncé World is created and maintained primarily through Beyoncé’s music videos and visual albums, but also across her concerts, performances and public appearances, and her social media accounts and website. Therefore, Beyoncé World is primarily created through media images, but, importantly, it also includes public appearances, actions and performances outside these visual images.