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3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
The Evolution of Hip Hop 1980’S
The Evolution of Hip Hop 1980’s Sugar Hill Gang Rapper’s Delight Kurtis Blow The Breaks Sugar Hill Gang Apache (Jump On It) Herbie Hancock Rockit West Street Mob Let’s Dance (Make Your Body Move) Whodini Magic’s Wand Afrika Bambaataa & Soulsonic Force Renegades of Funk Royal Cash Radio Active Rockmaster Scott & the Dynamic 3 Request Line West Street Mob Break Dance Mann Parish Boogie Down Bronx Afrika Bambaataa & Soulsonic Force Looking For the Perfect Beat Newcleus Jam On It Strafe Set It Off COD In The Bottle Jonzun Crew Pack Jam (Look Out For The OVC) LA Dream Team Rockberry Jam Freestyle Don’t Stop The Rock Rockmaster Scott & the Dynamic 3 The Roof Is On Fire Divine Sounds What People Do For Money Run DMC It’s Like That UTFO Beats & Rhymes Hashim Al-Naafiysh (The Soul) Cybotron Clear Kano Holly Dolly Afrika Bambaataa & Soulsonic Force Planet Rock Planet Patrol Play At Your Own Risk Ice-T Reckless Pretty Tony Fix It In The Mix Egyptian Lover Egypt Egypt Twilight 22 Electric Kingdom Twilight 22 Siberian Nights Grandmaster Melle Mel Survival (The Message II) Quadrant Six Body Mechanic World Class Wreckin Cru Surgery Arthur Baker Breaker’s Revenge Planet Patrol I Didn’t Know You Loved Me Fat Boys Fat Boys Jonzun Crew Space Cowboy Grandmaster Flash & the Furious 5 The Message Run DMC Sucker MC’s Davy DMX One For The Treble Doug E Fresh & Slick Rick Lodi Dodi Dr Jeckyl & Mr Hyde Genius Rap Run DMC King Of Rock Whodini Freaks Come Out At Night Dana Dane Cinderfella Dana Dane Schooly D PSK… What Does It Mean? Boogie Boys Fly Girl UTFO Roxanne -
VAGRANT RECORDS the Lndie to Watch
VAGRANT RECORDS The lndie To Watch ,Get Up Kids Rocket From The Crypt Alkaline Trio Face To Face RPM The Detroit Music Fest Report 130.0******ALL FOR ADC 90198 LOUD ROCK Frederick Gier KUOR -REDLANDS Talkin' Dirty With Matt Zane No Motiv 5319 Honda Ave. Unit G Atascadero, CA 93422 HIP-HOP Two Decades of Tommy Boy WEEZER HOLDS DOWN el, RADIOHEAD DOMINATES TOP ADDS AIR TAKES CORE "Tommy's one of the most creative and versatile multi-instrumentalists of our generation." _BEN HARPER HINTO THE "Geggy Tah has a sleek, pointy groove, hitching the melody to one's psyche with the keen handiness of a hat pin." _BILLBOARD AT RADIO NOW RADIO: TYSON HALLER RETAIL: ON FEDDOR BILLY ZARRO 212-253-3154 310-288-2711 201-801-9267 www.virginrecords.com [email protected] [email protected] [email protected] 2001 VIrg. Records Amence. Inc. FEATURING "LAPDFINCE" PARENTAL ADVISORY IN SEARCH OF... EXPLICIT CONTENT %sr* Jeitetyr Co owe Eve« uuwEL. oles 6/18/2001 Issue 719 • Vol 68 • No 1 FEATURES 8 Vagrant Records: become one of the preeminent punk labels The Little Inclie That Could of the new decade. But thanks to a new dis- Boasting a roster that includes the likes of tribution deal with TVT, the label's sales are the Get Up Kids, Alkaline Trio and Rocket proving it to be the indie, punk or otherwise, From The Crypt, Vagrant Records has to watch in 2001. DEPARTMENTS 4 Essential 24 New World Our picks for the best new music of the week: An obit on Cameroonian music legend Mystic, Clem Snide, Destroyer, and Even Francis Bebay, the return of the Free Reed Johansen. -
Does a Song by Any Other Name Still Sound As Sweet?: Digital Sampling and Its Copyright Implications
DOES A SONG BY ANY OTHER NAME STILL SOUND AS SWEET?: DIGITAL SAMPLING AND ITS COPYRIGHT IMPLICATIONS RANDY S. KRAviS "So sampling is theft, right?"1 TABLE OF CONTENTS Introduction .................................... 232 I. Digital Sampling .............................. 237 II. Copyright Law . .............................. 239 A. What Qualifies for Copyright Protection? ........ 240 B. Rights of the Copyright Owner ............... 241 C. Infringement .............................. 243 1. Ownership ............................. 244 2. Copying ............................... 244 a. Access . ............................ 245 b. Substantial similarity .................. 245 3. The defense of fair use ................... 246 D. Remedies . ............................... 248 III. The Controversy Surrounding Digital Sampling ...... 250 A. The Debate Over Substantial Similarity .......... 250 B. The Debate Over Originality ................. 255 C. The Debate Over the Effect of Sampling on a Song's Market ............................. 258 D. The Copyright Act's Ambiguous Legislative History. 260 IV. The Case: Grand Upright Music Ltd. v. Warner Bros. Records, Inc. ............................. 262 A. The Factual Background .................... 263 1. J.D. Considine, LarcenousArt, ROLLING STONE,June 14, 1990, at 107, 107-09 (discussing controversy of whether sampling is "simple theft" or "appropriate artistic response to expanding technology"). THE AMERICAN UNivERSriY LAW REvIEW [Vol. 43:231 B. The Opinion .............................. 263 V. -
Inventor Brings 3-D Vision to Music by James Sullivan Globe Correspondent, April 2, 2013, 12:00 A.M
●BREAKING 4 NEW CORONAVIRUS-RELATED BREAKING: 4 NEW CORONAVIRUS- DEATHS AND 131 NEW CASES ARE RELATED DEATHS AND 131 NEW CASES CONFIRMED IN MASS. ARE CONFIRMED IN MASS. Inventor brings 3-D vision to music By James Sullivan Globe Correspondent, April 2, 2013, 12:00 a.m. Bill Sebastian inside a prototype of a dome used for displaying visual music content. Sebastian is the founder of Visual Music Systems, which is developing technology to make music a fully visual experience. DINA RUDICK/GLOBE STAFF On the edge of the woods in Falmouth rests the decaying hulk of one man’s youthful ambition. It’s the bones and innards of an instrument that was designed to facilitate a pretty big notion: human contact with another dimension. The story behind its creation — and rebirth — involves the Vietnam War, New Kids on the Block, the early days of the Internet, and one MIT dropout’s lifelong determination. Sun Ra performed on keyboards at Nightstage June 10, 1986. PHIL SPRING/GLOBE STAFF/BOSTON GLOBE In the late 1970s, the instrument led to concert appearances with the late, cosmically attuned jazz bandleader Sun Ra. Now Bill Sebastian, 61, the man who built the instrument, has been working in a Boston office on his invention’s digital successor, which he’s almost ready to show the world. It is a kind of optical synthesizer called the Outerspace Visual Communicator, or OVC. Designed to let the user “play” with images as part of a musical composition, the original OVC was a custom-built keyboard featuring an array of sensors to be brushed with fingertips (“like fingerpainting”). -
Maurice Starr You and Me Mp3, Flac, Wma
Maurice Starr You And Me mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: You And Me Country: US Released: 1982 Style: Funk, Boogie MP3 version RAR size: 1719 mb FLAC version RAR size: 1563 mb WMA version RAR size: 1227 mb Rating: 4.8 Votes: 374 Other Formats: RA MOD MP1 AUD MP4 MPC MMF Tracklist A You And Me 5:14 B You And Me 5:14 Companies, etc. Phonographic Copyright (p) – Catawba Records, Inc. Copyright (c) – Catawba Records Corp. Manufactured By – Catawba Records Corp. Published By – Boston International Music Published By – Catawba Music Pressed By – Columbia Records Pressing Plant, Pitman Credits Executive-Producer – Richard Mack , Roscoe Graham Producer, Arranged By, Written-By – Maurice Starr, Michael Jonzun Remix – Jimmy Simpson Notes Produced and arranged for Boston International Records. ASCAP For Promotion Only - Not For Sale Same track pressed to both sides. Barcode and Other Identifiers Rights Society: ASCAP Matrix / Runout (Labels): CA 6000 AS Matrix / Runout (Runout Etchings (Both Sides)): P CA 6000AS-1A Other versions Category Artist Title (Format) Label Category Country Year CA 6000 Maurice Starr You And Me (12") Catawba Records CA 6000 US 1982 811 498-1 Maurice Starr You And Me (12") Mercury 811 498-1 Germany Unknown Related Music albums to You And Me by Maurice Starr Roger Daltrey - Oceans Away Jonzun Crew Featuring Michael Jonzun - Down To Earth Fresh Face - Huevo Dancing The Jonzun Crew - Pack Jam (Look Out For The OVC) New Kids On The Block - Let's Try It Again New Kids On The Block - Step By Step Ronnie Rogers - Inside Story Archie Bell And The Drells - Strategy. -
Playlist Cosmic Machine 80'S Chez Olivier Carrié Aka Uncle O 53
série Shaolin Soul chez Olivier Carrié aka Uncle O 53 ans - design compiles Cosmic Machine 1er disque acheté : Enni Morricone : à l’aube écouter albumThe Feedback du 5ème jour Donna Summer love to love you baby Cerrone : Love in C Minor Moroder From Here to Eternity Moroder Knights in White Satin A Whiter Shade of Pale - Munich Machine Neon Lights Punk Kraftwerk The Man Machine Chic Good Times Disco Electric Callas Cold wave Human League « The Dignity of Labour » Talking Heads James Brown Autres Feel Up Grace Jones Pull Up to the Bumper Dirty Mind Les années Bains Prince Controversy Jamie Starr - Vanity 6 Newcleus Planet Patrol Jonzun Crew Bambaataa & Soulsonic Force Warp 9 Electro Funk Indeep : last night the DJ saved my life Egyptian Lover : On the Nile Collectif Uncle Jamm’s Army Cybotron Strafe : « Set it Off » Rich Cason And the Galactic Orchestra Personality Jock : King Tim III Hip Hop Rapper’s Delight Kalifornia Above the Law Black Superman playlist cosmic machine 80’s Au-dessus du lot EPMD Années lycée Erik B & Rakim Little Sister produit par Sly Stone RAMP : Come into Knowledge Trésors Souls Here, My Dear Marvin Gaye Sly stone, curtis mayfield, Al Green Champion Sound Compiles Dirty South Bass Toxic Music For listening To - British Electric Foundation Throbbing Gristle : Distant Dreams Sélection vinyles Teenage Jesus : « Orphans » Chrome : « red exposure » Et : The Units, Indoor Life, Tuxedomoon, Voice Farm… Bad Brains : « black dots » Violent Ocasek : 2ème Suicide Album solo : Martin Rev ESG Says Dance to the Beat of Moody NYC -
Biography -- Printable Version
Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
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. -
An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance.