Chapter I : Introduction 1 Overview 1 Review of Literature 3 Methods 12 Research Aims 15 Conclusion 16 References 17
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Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Die Panther Und Der Löwe
# 2000/18 dschungel https://jungle.world/artikel/2000/18/die-panther-und-der-loewe Common und Jeru The Damaja Die Panther und der Löwe Von Tobias Rapp Damit sich alles ändert, hat sich Common viele Freunde gesucht, damit alles bleibt wie es ist, kämpft Jeru The Damaja alleine. Eines der wichtigsten Dinge im HipHop ist die eigene Posse. Die Jungs, mit denen man zur Schule gegangen ist, mit denen man die Vorliebe für bestimmte Turnschuh-Marken oder Schallplattenläden teilt, die Jungs, die mit einem abhängen und die einem die Joints bauen. So sieht es zumindest in der Frühphase einer Rapper-Karriere aus, und je länger sie dauert, desto wichtiger werden die Leute, mit denen man sich umgibt. Andere Rapper kommen dazu, Produzenten, Leute aus dem Business, Dealer, auf die Verlass ist, Groupies in jeder Stadt, das volle Programm. All diese Menschen sind nicht nur wichtig für die soziale Rückkoppelung, man braucht sie auch, damit man aus der Gruppe hervortreten kann, um zu sagen, was man zu sagen hat, und danach wieder in sie zurückzutreten. Auf der Rückseite von »Like Water For Chocolate«, dem neuen Album von Common, grüßt dieser buchstäblich Hunderte von friends & allys, jeder Gruß ist versehen mit einer kleinen Bemerkung. Nimmt man »Heroz 4 Hire« zur Hand, das neue Album von Jeru The Damaja, sucht man vergeblich nach irgendwelchen Eintragungen, Jeru grüßt nur sich selbst. Das war einmal anders. Beide begannen ungefähr zur gleichen Zeit ihre Karriere, in den frühen Neunzigern. Common nannte sich damals noch Common Sense, sorgte für kein besonders großes Aufsehen, sondern war einer der zahllosen Rapper, die auf den Marktplatz spaziert kamen, einer von denen, für die sich vor allem HipHop-Aficionados interessierten. -
Angela Fraleigh
ANGELA FRALEIGH BORN 1976 Beaufort, SC EDUCATION 2003 Master of Fine Arts, Yale University School of Art, New Haven, CT 1998 Bachelor of Fine Arts, Boston University, Boston, MA SELECTED SOLO EXHIBITIONS 2020 University of Alabama, Tuscaloosa, AL (forthcoming) Inman Gallery Houston, TX (forthcoming) The Darkness Still Has Work To Do, Reading Public Museum, Reading, PA (forthcoming) Shadows Searching for Light, Swope Art Museum, Terre Haute, IN 2019 Sound the Deep Waters, Delaware Art Museum, Wilmington, DE 2018 Shadows Searching for Light, Edward Hopper House Museum, Nyack, NY The Bones of Us Hunger for Nothing, Sordoni Art Gallery, Wilkes University, Wilkes- Barre, PA 2017 Watching the Moon Move, 527 Madison Ave, New York, NY The Breezes at Dawn Have Secrets to Tell, Peters Projects, Santa Fe, NM 2016 Between Tongue and Teeth, Everson Museum of Art, Syracuse, NY 2015 Lost in the Light, Vanderbilt Mansion, Hyde Park, NY 2014 Ghosts in the Sunlight, Inman Gallery, Houston, TX 2011 by the time I tell you it will all be forgotten, Inman Gallery, Houston, TX far as my eyes could see, University of the Arts, Philadelphia, PA 2008 and I would shine in answer/ being/ without becoming, PPOW Gallery, New York, NY 2007 not one girl it think/ who looks on the light of the sun/ will ever have wisdom/ like this, Inman Gallery, Houston, TX even, Heimbold Visual Art Center, Sarah Lawrence College, Bronxville, NY if not, winter, James Harris Gallery, Seattle, WA 2006 then, for just a moment, Moravian College, Bethlehem, PA there i still my thirst, Women -
Smifnwessun Jeru 17.12.11 DRESDEN Pressetext
krasscore concerts presents SMIF N WESSUN & JERU THA DAMAJA „90ies Rap X-Mas Special pt.2“ date: Sa. 17.12.2011 venue: Scheune Alaunstr. 36/40 01099 Dresden acts: Smif N Wessun (Brooklyn / NYC) Jeru tha Damaja (Brooklyn / NYC) special: AFTER-SHOW-PARTY mit DJ Access (New DEF / Dresden) Einlass: 21:00 Beginn: 22:00 Eintritt: 18 € im VVK (incl. After-Show-Party!) ohne Gebühren: in allen Harlem Stores, Supreme, Titus und Späti (Striesen) zzgl. VVK-Geb.: VVK bundesweit an allen VVK-Stellen, online unter www.krasscore.com/tickets und in Dresden z.B. bei Dresden Ticket, KoKa Florentinum & Schillergalerie allen SZ-Treffpunkten (Altmarktgalerie, Elbe Park, Karstadt, Seidnitz Center) & Sax-Ticket www.krasscore.com Seit 2001 kümmert sich die Crew von krasscore concerts um die Belange der Rap-Fans in Dresden & Umgebung. Seit letztem Jahr ist es nun fast schon Tradition, dass sich alle Ami-Rap Fans am letzten Samstag vor Weihnachten auf ein Highlight in dieser Sparte freuen können. Denn am 17.12. werden nach Group Home, Dilated Peoples, Lootpack, Black Milk, Sean Price, Brand Nubian, Camp Lo, Das EFX, Masta Ace und vielen anderen amerikanischen Rap- Größen endlich auch SMIF N WESSUN die Bühne der Scheune rocken - und das zum ersten Mal überhaupt in Dresden! Um die Sache richtig abzurunden, konnte der ebenfalls aus Brooklyn stammende JERU THA DAMAJA gewonnen werden, der nach über neun Jahren Pause Dresden erneut beehren wird. Und da Weihnachten nun mal die Zeit der Geschenke ist, möchte sich das Team von krasscore bei allen Gästen für die teilweise jahrelange Treue bedanken, weshalb die Karten für das X-mas-HipHop-Spektakel im Supreme & den Harlem Stores lediglich 18 Euro kosten. -
The Golden Blade
THE GOLDEN BLADE FREEeO^I >W^gESTfNy+ FREEDOM AND DESTINY THE STARS OF THE YEAR T H E G O L D E N B L A D E FORTY-SECOND (1990) ISSUE CONTENTS A d a m B i t d e s t o n W i l l i a m F o r w a r d Editorial Notes W. F. Man, Offspring of the World of Stars Rudolf Steiner The Observation of the Stars as a Path to Freedom John Meeks and Michael Brinch The Life between Death and Re-birth in the Light of Astrology Elizabeth Vreede The Bridge of the Green Snake A. Bockemiihl Some Questions concerning Rainer Maria Rdke R. Lissau The Tasks and Deeds in the Life of William Mann (1861n —1925). Heo f descnbeditas"apathofknowledge,R u d o l f to guideS the t e spiritual i n e r Roswitha Spence in the human being to the spiritual in the universe". W i l l i a m M a n n — T h e T e a c h e r T e d R o b e r t s Addiction as an Impulse towards the Renewal of Culture The aitn of this Annual is to bring the outlook of Anthroposophy to bear J. van der Haar on questions and activities of evident relevance to the present, in a way which On the Destiny of the American Indian Brian Gold Book Review may have lasting value. It was founded in 1949 by Charles Davy and Arnold Notes and Acknowledgements Freeman, who were its first editors. -
R.A. the Rugged Man Jeru the Damaja the Doppelgangaz
krasscore concerts presents R.A. THE RUGGED MAN JERU THE DAMAJA THE DOPPELGANGAZ „EAST COAST US-RAP X-MAS Special“ date: Fr. 20.12.2013 venue: Scheune Alaunstr. 36/40 01099 Dresden acts: R.A. The Rugged Man (NYC) Jeru The Damaja (Brooklyn / NYC) The Doppelgangaz (Orange County / NY) special: AFTER-SHOW-PARTY mit DJ ACCESS (New Def / Dresden) Einlass: 20:00 Beginn: 21:00 Eintritt: 22 € im VVK (incl. After-Show-Party!) ohne Gebühren: in allen Harlem Stores, Titus und Späti (Striesen) zzgl. VVK-Geb.: VVK bundesweit an allen VVK-Stellen, online unter www.krasscore.com/tickets und in Dresden z.B. bei Ticketcentrale, KoKa Florentinum & Schillergalerie allen SZ-Treffpunkten (Altmarktgalerie, Elbe Park, Karstadt, Seidnitz Center) & Sax-Ticket www.krasscore.com | www.facebook.com/KCConcerts US-Rap Highlight zu Weihnachten in der Scheune! Ein schönes Geschenk zu Weihnachten ist jetzt schon traditionell der US Rap Abend in der Scheune! Mit dem Gang Starr Foundation Member JERU THE DAMAJA kommt ein Künstler, von dem jeder geneigte Rap Fan mindestens 2 Alben zu Hause im Regal hat! Mitte der goldenen 90erJahre des Hip Hop kam Jeru mit The Sun Rises in the East (1994) und Wrath of the Math (1996) raus. R.A. THE RUGGED MAN ist der 2. Headliner an dem Abend und damit sollte klar sein, dass hier nicht gekleckert sondern geklotzt wird! Welcher aktuelle Künstler kann schon noch einen eigenen Song mit Biggie Smalls aka The Notorious B.I.G. vorweisen? Unvergessen ist seine Show beim HipHopKemp in diesem Sommer, als er mit Gipsfuß (aufgrund eines gebrochenen Beins) & Rollstuhl auf der Bühne performte! Eine irre Bühnenshow samt nacktem Oberkörper ist Pflichtprogramm beim Stanley Kubrick des Indie Rap. -
Afu-Ra & Jeru the Damaja
AFU-RA & JERU THE DAMAJA I primi colpi della sua carriera arrivano nel 1994 quando attira l’attenzione di Jeru the Damaja, con il quale collabora nel brano Mental Stamina, e poco tempo dopo si affilia ai Gang Starr ed alla relativa Gang Starr Fondation. Partecipa così al secondo album di Jeru, in “Physical Stamina”, ed al successivo tour, in cui mostra il suo talento e strappa un contratto all’etichetta D&D Studios. Si tratta dei suoi primi passi per la carriera solista. Nel 1997 debutta quindi con il suo primo singolo ‘Whirlwind Thru Cities’ e lo stesso anno Afu-Ra pubblica anche ‘Trilogy Of Terror', uno dei suoi brani più celebri a cui partecipa anche Guru dei Gang Starr. Nel 1998 la traccia trova la strada del successo e diventa una perla dell’underground nazionale, Afu-Ra trova grande credibilità nel mondo underground. Nel 2000 è la volta di “Body of the Life Force”, primo LP solista, ispirato alla cultura orientale, data anche la passione che il rapper ha per i film di karate e per l’Asia, il Tai Chi, il Taoismo ed il Buddismo. Successivamente all’uscita dal gruppo Gang Starr e dalla sfera di influenza di Jeru, aumenta le proprie conoscenze e collaborazioni con figure di primo piano del rap newyorkese come GZA, i Cocoa Brovaz, la leggenda Big Daddy Kane (nel brano Stick Up) e gli M.O.P., a cui segue una stretta collaborazione con DJ Premier per Life Force Radio del 2002. Nel biennio successivo Afu-Ra continua le collaborazioni, tra cui si contano anche quelle con artisti italiani come Piotta ed Amir & Mr. -
Sample Some of This
Sample Some Of This, Sample Some Of That (169) ✔ KEELY SMITH / I Wish You Love [Capitol (LP)] JEHST / Bluebells [Low Life (EP)] RAMSEY LEWIS TRIO / Concierto De Aranjuez [Cadet (LP)] THE COUP / The Liberation Of Lonzo Williams [Wild Pitch (12")] EYEDEA & ABILITIES / E&A Day [Epitaph (LP)] CEE-KNOWLEDGE f/ Sun Ra's Arkestra / Space Is The Place [Counterflow (12")] JOHN DANKWORTH & HIS ORCHESTRA / Bernie's Tune ("Off Duty", O.S.T.) [Fontana (LP)] COMMON & MARK THE 45 KING / Car Horn (Madlib remix) [Madlib (LP)] GANG STARR / All For Da Ca$h [Cooltempo/Noo Trybe (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Theme From "Return From The Ashes", O.S.T. [RCA (LP)] 7 NOTAS 7 COLORES / Este Es Un Trabajo Para Mis… [La Madre (LP)] QUASIMOTO / Astronaut [Antidote (12")] DJ ROB SWIFT / The Age Of Television [Om (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Look Stranger (From BBC-TV Series) [RCA (LP)] THE LARGE PROFESSOR & PETE ROCK / The Rap World [Big Beat/Atlantic (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Two-Piece Flower [Montana (LP)] GANG STARR f/ Inspectah Deck / Above The Clouds [Noo Trybe (LP)] Sample Some Of This, Sample Some Of That (168) ✔ GABOR SZABO / Ziggidy Zag [Salvation (LP)] MAKEBA MOONCYCLE / Judgement Day [B.U.K.A. (12")] GABOR SZABO / The Look Of Love [Buddah (LP)] DIAMOND D & SADAT X f/ C-Low, Severe & K-Terrible / Feel It [H.O.L.A. (12")] GABOR SZABO / Love Theme From "Spartacus" [Blue Thumb (LP)] BLACK STAR f/ Weldon Irvine / Astronomy (8th Light) [Rawkus (LP)] GABOR SZABO / Sombrero Man [Blue Thumb (LP)] ACEYALONE / The Hunt [Project Blowed (LP)] GABOR SZABO / Gloomy Day [Mercury (LP)] HEADNODIC f/ The Procussions / The Drive [Tres (12")] GABOR SZABO / The Biz [Orpheum Musicwerks (LP)] GHETTO PHILHARMONIC / Something 2 Funk About [Tuff City (LP)] GABOR SZABO / Macho [Salvation (LP)] B.A. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
Mos Def and Talib Kweli How Many Women You Can Fit in Your on That Compilation and Was Eagerhot to Tub
Masters of the Drunken Style By Charles Babbitt The Lumberjack Liquor up and live forever Phoenix hip-hop crew the Drunken Immortals play this Saturday at the Old Post Office. As part of a new series of locaL hip-hop shows and DJ nights, the Drunken Immortals bring their own style to Flagstaff. Brought together last year by brothers Alex and Mike Cosentino, the Immortals mix. traditional hip-hop with live instruments for an unbeatable live show. For several years, Alex and Mike played together as “Nomad** at raves throughout Phoenix, with Mike ("Cause’") as the MC and Alex <tkDJ WhuOas the turntablist. In March 1998, they enlisted the heLp of Steve Cox on guitar, Indiana*' Jonas Hurst on drums, Jeremy “Smokes” Dana on bass, and a second MC: Brad “B" Badoose. “The name Drunken Immortals came from a Chinese tale about eight immortals with super human powers that evolved into a style of kung fu,” said Alex. “Cause was bom (in Flagstaff) and we were both raised down the mountain in the Verde Valley. Our band loves to play there and the people there seem to like us. We love how everyone dances and gets into the music.” They all have neat nicknames and they might just ask members of the audience to freestyle at the end, so bring your biggest pants and your Krylon and get ready lo battle. The Drunken Immortals: a menace to sobriety. photo courtesy Alex Cosentino movie review music review Life is Beautiful B la c k S ta r [ Happenings Editor; CharlesBabbitt Comments and Questions: [email protected] Q music Black Star February 18 -March 3 ine without preaching or selPrighteous- Mos Def and ness.