Central Mis.., Poor R.T., Shadz of Lingo, Masta Ace Inc., By
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Libraryonwheels Sparksinterest
EMI Records Aligns with Erick Sermon and Def Squad Label EMI Records (EMI have always wanted for Def /Chrysalis /SBK) today Squad Records. announced a label agreement with 1 look forward to working Def Squad Records, led with Davitt by rap recording artist/producer Sigerson and the Erick whole EMI team and to having Sermon. Under this a arrangement. Sermon will very successful'relationship submit artists together." exclusively to Sermon first made his mark EMI who concentrate on devel¬ in and the rap community as half of oping producing new the classic EPMD combo. Teachers from the Bethlehem Hills ~~HFhas since Released two Happy Child Care Center brouse through the Smart Start Bookmobile. label and will continue produc¬ solo Teachers selected books for students in their class. Keith albums. No Pressure and ing Redman, Murray and Double or other established artists. Nothin' on Def Jam Def In addition to and Squad will have offices and a finding pro¬ y ducing new talent, staff based out of the EMI including On Wheels New Das EFX, Redman and Keith Library Interest York Headquarters. * By MAURICE CROCKER Sparks Murray, Sermon has also chosen for the bookmobile are Commented Davitt pro¬ Community News Reporter The first stop of the book¬ Siger- duced singles for a diverse selected by the library heads at mobile was the son, president and CEO, EMI of each Bethlehem "Erick array artists such as Super- The branch. Happy Hills Child Care Center. Records, is always cat, Blackstreet, Forsyth County Some of the books are focused or His record Shaquille Library has started a new cho¬ "I think this is a good quality. -
Hood, My Street: Ghetto Spaces in American Hip-Hop Music
Pobrane z czasopisma New Horizons in English Studies http://newhorizons.umcs.pl Data: 22/08/2019 20:22:20 New Horizons in English Studies 2/2017 CULTURE & MEDIA • Lidia Kniaź Maria Curie-SkłodowSka univerSity (uMCS) in LubLin [email protected] My City, My ‘Hood, My Street: Ghetto Spaces in American Hip-Hop Music Abstract: As a subculture created by black and Latino men and women in the late 1970s in the United States, hip-hop from the very beginning was closely related to urban environment. Undoubtedly, space has various functions in hip-hop music, among which its potential to express the group identity seems to be of the utmost importance. The goal of this paper is to examine selected rap lyrics which are rooted in the urban landscape: “N.Y. State of Mind” by Nas, “H.O.O.D” by Masta Ace, and “Street Struck,” in order to elaborate on the significance of space in hip-hop music. Interestingly, spaces such as the city as a whole, a neighborhood, and a particular street or even block which are referred to in the rap lyrics mentioned above express oneUMCS and the same broader category of urban environment, thus, words con- nected to urban spaces are often employed interchangeably. Keywords: hip-hop, space, urbanscape. Music has always been deeply rooted in everyday life of African American commu- nities, and from the very beginning it has been connected with certain spaces. If one takes into account slave songs chanted in the fields (often considered the first examples of rapping), or Jazz Era during which most blacks no longer worked on the plantations but in big cities, it seems that music and place were not only inseparable but also nat- urally harmonized. -
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 ............................................... -
ANSAMBL ( [email protected] ) Umelec
ANSAMBL (http://ansambl1.szm.sk; [email protected] ) Umelec Názov veľkosť v MB Kód Por.č. BETTER THAN EZRA Greatest Hits (2005) 42 OGG 841 CURTIS MAYFIELD Move On Up_The Gentleman Of Soul (2005) 32 OGG 841 DISHWALLA Dishwalla (2005) 32 OGG 841 K YOUNG Learn How To Love (2005) 36 WMA 841 VARIOUS ARTISTS Dance Charts 3 (2005) 38 OGG 841 VARIOUS ARTISTS Das Beste Aus 25 Jahren Popmusik (2CD 2005) 121 VBR 841 VARIOUS ARTISTS For DJs Only 2005 (2CD 2005) 178 CBR 841 VARIOUS ARTISTS Grammy Nominees 2005 (2005) 38 WMA 841 VARIOUS ARTISTS Playboy - The Mansion (2005) 74 CBR 841 VANILLA NINJA Blue Tattoo (2005) 76 VBR 841 WILL PRESTON It's My Will (2005) 29 OGG 841 BECK Guero (2005) 36 OGG 840 FELIX DA HOUSECAT Ft Devin Drazzle-The Neon Fever (2005) 46 CBR 840 LIFEHOUSE Lifehouse (2005) 31 OGG 840 VARIOUS ARTISTS 80s Collection Vol. 3 (2005) 36 OGG 840 VARIOUS ARTISTS Ice Princess OST (2005) 57 VBR 840 VARIOUS ARTISTS Lollihits_Fruhlings Spass! (2005) 45 OGG 840 VARIOUS ARTISTS Nordkraft OST (2005) 94 VBR 840 VARIOUS ARTISTS Play House Vol. 8 (2CD 2005) 186 VBR 840 VARIOUS ARTISTS RTL2 Pres. Party Power Charts Vol.1 (2CD 2005) 163 VBR 840 VARIOUS ARTISTS Essential R&B Spring 2005 (2CD 2005) 158 VBR 839 VARIOUS ARTISTS Remixland 2005 (2CD 2005) 205 CBR 839 VARIOUS ARTISTS RTL2 Praesentiert X-Trance Vol.1 (2CD 2005) 189 VBR 839 VARIOUS ARTISTS Trance 2005 Vol. 2 (2CD 2005) 159 VBR 839 HAGGARD Eppur Si Muove (2004) 46 CBR 838 MOONSORROW Kivenkantaja (2003) 74 CBR 838 OST John Ottman - Hide And Seek (2005) 23 OGG 838 TEMNOJAR Echo of Hyperborea (2003) 29 CBR 838 THE BRAVERY The Bravery (2005) 45 VBR 838 THRUDVANGAR Ahnenthron (2004) 62 VBR 838 VARIOUS ARTISTS 70's-80's Dance Collection (2005) 49 OGG 838 VARIOUS ARTISTS Future Trance Vol. -
![EPMD, Head Banger [Redman] Negroes!!!!!!!!](https://docslib.b-cdn.net/cover/9459/epmd-head-banger-redman-negroes-939459.webp)
EPMD, Head Banger [Redman] Negroes!!!!!!!!
EPMD, Head Banger [Redman] Negroes!!!!!!!! [x6] [Hit Squad] The head banger, WHAT? [Hit Squad] The head banger Parrish Smith gettin wreck [Hit Squad] The head banger [Verse One: Parrish Smith] Ka-rank the boombox as my sound knock from blocks as I chill, and bust grills you take snapshots of the maniac, dressed in black, carry round a strap Kid you play me too close (slow down and catch a cap, POW!!) Cause I don't play games, an outlaw like Jesse James To hell with the bitches and the so-called fame (uh-huh) Strictly biz to hard (kid yeah) as I climb charts Bustin ass daily as I compose like Mozart Just stand, say you're mad damn, why him? Z-oh-one Tonka, five-sixty Benz I'm sick and mad deep no shorts and no sleep I'm bugged like a tapped phone, hard like concrete So get a GRIP and don't SLIP or catch a CLIP from the infrared aimed at your head as I blast my TARGET The Bozack, I rip up flows that make an MC stop and chill and say HE'S ALL THAT Hardcore no R&B singer Roll with the Hit Squad... down with the head banger [x4] (Hit Squad) The head banger, WHAT? "Yeahhh, head crack, head crack" -- Grand Puba, Slow Down [x3] (Hit Squad) The head banger, WHAT? Erick Sermon break it down (Hit Squad) The head banger "Yeahhh, head crack, head crack" [Verse Two: Erick Sermon] SURPRISE, you wonder where I've been, I've been workin But sounds makin danger, and black birds chirpin A real Damian, Omen possessed by the devil You dig the rhythm, and I'll play the RUNNIN REBEL Changed my style, so I can freak the funk Yo pass the -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s. -
TEG 77513 MARLEY MARL in Control DELUXE CD
DISC ONE 119 Marley Intro 10 ^ 101 Marley Intro 1 ^ 120 Wack Itt feat. Roxanne Shanté 102 Droppin' Science feat. Craig G. 121 Marley Outro ^ 103 Marley Intro 2 ^ DISC TWO 104 We Write The Songs 201 Droppin' Science (Hip Hop Version) ** feat. Biz Markie and Heavy D. 202 The Symphony (Remix) ** 105 Marley Intro 3 ^ 203 Wack Itt (Extended Version) ** 106 The Rebel 204 We Write The Songs (Live At The Apollo) * feat. Tragedy The Intelligent Hoodlum 205 Symphony, Duck Alert, Droppin Science 107 Marley Intro 4 ^ (Live At The Apollo) * 108 Keep Your Eye On The Prize 206 The Symphony (Radio Version) ** feat. Master Ace 207 Droppin' Science (Bonus Beats) ** 109 Marley Intro 5 ^ 208 The Symphony 110 The Symphony feat. Big Daddy Kane, (Marley's Symphony Scratch) ** Craig G., Kool G. Rap, Master Ace 209 Evolution feat. Debbie D, Glamorous, 111 Marley Intro 6 ^ Kool G. Rap, MC Shan, TJ Swan ** 112 Live Motivator 210 Juice Crew All Stars feat. Craig G., feat. Tragedy The Intelligent Hoodlum Glamorous, Kool G. Rap, Tragedy, 113 Marley Intro 7 ^ MC Shan, Roxanne Shanté 114 Duck Alert feat. Craig G. ^ Interlude commentary by Marley Marl, 115 Marley Intro 8 ^ Exclusive to this release 116 Simon Says feat. Master Ace * Live at Apollo Theater, 11.19.1988, Previously Un-Released. 117 Marley Intro 9 ^ ** First Time Available On CD, 118 Freedom feat. M.C. Shan Original 12” Versions. “Rock this at the drop of a dime baby…” It only seems fitting that the man Biz,” among many others. In Control: Volume 1 came together with ease, who pioneered the use of sampling in Hip Hop, solidifying himself as a as Marley had some of the greatest rappers in the world to contribute to his legend early on with such a gigantic innovation in recorded music, would stellar production. -
B-Mello Doin´ My Thing Mp3, Flac, Wma
B-Mello Doin´ My Thing mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Doin´ My Thing Country: US MP3 version RAR size: 1660 mb FLAC version RAR size: 1950 mb WMA version RAR size: 1804 mb Rating: 4.5 Votes: 229 Other Formats: MP2 VOX MIDI AC3 WAV DMF ASF Tracklist 1 Doin´ My Thing - Side - A - 2 Doin´ My Thing - Side - B - Notes Tracklist : Side A : Greg Nice - Set it off Kool Keith - Warning Make-Up GZE / Method Man - Shadowboxin´ Dramatical / B.I.G. / 2Pac - Runnin´ Sunz of Man - No Love Without Hate AZ - Gimme Yours (Erick Sermon RMX) J-Live - Braggin´ Writes Ten Thieves - Straight from the slums Das EFX / Mobb Deep - Microphone Master (RMX) Real Live (K-Def & Larry O) - Real Live Shit Lord Finesse / O.C. / KRS-One - No Gimmicks (RMX) Doog Pound - New York, New York Side B : Big Noyd / Prodigy - Recognize & Realize Redman - Funkorama (Funk Doctor RMX) Erick Sermon - Bomdigi (New RMX) Mad Skillz - Move Ya Body Smif N Wessum - Wrekonize (RMX) Bahamadia - Unknowhowwedu Prose & Concepts - W.O.T.R. (RMX) Young Zee / KRS-One / Busta Rhymes - Milk Jamal - Fades ´em all (Pete Rock RMX) LL Cool J / Keith Murray / Mobb Deep / Fat Joe - I Shot Ya (RMX) Mic Geronimo - Train Of Thought Major Stress - A Day In The Stuy Triflicts - Don´t Make Me Try Related Music albums to Doin´ My Thing by B-Mello 1. Erick Sermon - Double or Nothing 2. DJ Evil Dee - One (1 Of 3) 3. Keith Murray - The Most Beautifullest Thing In This World 4. DJ BK, DJ Ikom - Back To School Vol. -
Interconnections and Uneasy Alliances Between the Black and South Asian Diasporas: a Study of Hip Hop Videos, Film, and Literature
INTERCONNECTIONS AND UNEASY ALLIANCES BETWEEN THE BLACK AND SOUTH ASIAN DIASPORAS: A STUDY OF HIP HOP VIDEOS, FILM, AND LITERATURE VISHA GANDHI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2014 © Visha Gandhi, 2014 Interconnections and Uneasy Alliances Between the Black and South Asian Diasporas: A Study of Hip Hop Videos, Film, and Literature This dissertation challenges the belief that racialized communities do immediately support and identify with each other; my research on the Black and South Asian diasporas unearths the Orientalist thoughts and anti-Black racisms that exist in each respective community. Using the work of Edward Said in his text, Orientalism, and research on racial triangulation by Asian Americanist Claire Jean Kim, my work attempts to clarify the often-conflicted relations and dynamics between South Asians, Blacks, and whites. Chapter two of this dissertation looks at romantic and sexual involvement between different racial communities; I specifically look at the films Mississippi Masala and Bhaji on the Beach to delve into the cultural rarity that is the Black-South Asian romance. Chapter three discusses Black Orientalism in American hip hop videos by such artists as Truth Hurts, and Timbaland and Magoo. Finally, chapter four looks at gendered dynamics and longings for blackness in the texts Consensual Genocide, by Leah Lakshmi Piepzna-Samarasinha, and Londonstani, by Gautam Malkani. ii This dissertation is dedicated to my family, and especially to Catherine Thompson, for her unending support. And to all hip hop brown girls who practice their appreciation respectfully. -
L' Lzlv Llw S Classical
LZ_LV LLAY S L' LZLV LLW S (Continued from page 26) familiar territory with tracks like John- chised by pop radio, but not too old ny Pacheco's "Tararea Kumbayea" and for rock'n'roll. Magness did not O N S T A G E ERICK SERMON Mario Dfaz's "Corazón de Rumba" and compose any of this disc's tracks, Musk then veers into timba with "Taita Bi- but she creates an identity for her- PRODUCERS: Erick Sermon longo." There are some dips in mo- self by assembling simmering, mid - MAMMA MIA! presence whose silver hair adds a and Rockwilder mentum, including the repetitive tempo songs by such writers as Mar- Music and lyrics by Benny Andersson sexy luster to her post- hippie per- 1 Records 20023 "Déjenme Vivir." But overall, Cruz's cia Ball, Ray Charles, and James and Björn Ulvaeus sona, nailing the character's schizo- You might call it a comeback: Build- magnificent voice and overflowing Brown. She also adds a few tunes Book by Catherine Johnson phrenic turns from wistful mom and ing upon the success of his chart -top- emotion are unabated. She takes this from the popular blues lexicon, such Directed by Phyllida Lloyd scorned lover to stalwart feminist ping single, "Music," Erick Sermon straight -ahead salsa album from A to Z as the oft -covered "It's Your Voodoo Choreographed by NicholaTreherne and resuscitated disco queen. Pitre makes his triumphant return to the without resorting to ballads other Working," and sings with an expres- Sets by Jonathan Allen, Nancy Thun -or delivers some of the show's finest game with his J Records debut of the commercial ploys -for success. -
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. -
Cash Box June 26, 1993 21 Urban
CASH BOX JUNE 26, 1993 21 URBAN 5 9 TOP 30 HIP-HOP ALBUMS By M.R. Martinez THE CASH BOX • JUNE 26, 1993 HOLLYWOOD SOCIETY: Artists RHYME who are on the Jive Records soundtrack XX THE CHRONIC (Death Row/Interscope 57128/Priority) Dr. Dre 1 34 to the New Line Cinema release Menace 2 12 INCHES OF SNOW (Atco EastWest 92207/AG) SnOW 2 18 BACDAFUCUP (RAlVChaos 53302) Onyx 5 8 II Society mingled with the film's stars BORN GANGSTAZ (OJ West/Chaos/Columbia 52903) BOSS DEBUT during a party at the Hollywood Athletic H 14 19 NAUGHTY m (Tommy Boy 1069) Naughty By Nature 4 17 Club in Los Angeles following the premiere screening. Artists 15 166 THE BLISS ALBUM (Gee Street 514517) P.M. Dawn 6 10 such as Too $hort and MC Eiht (of Compton's Most Wanted) 7 THE PREDATOR (Priority 57185) IceCube 7 26 appear in the film and on the soundtrack. They were joined at the 8 DOWN WITH THE KING (Profile 1440) Run-D.M.C. 3 6 19 3 YEARS 5 MONTHS Sr 2 DAYS IN THE LIFE OF... party by Dr. Dre, Tone Loc, DJ Premiere (Gangstarr), Young MC, 20 (Chrysalis 21929) Arrested Development 10 18 Pharcyde, Ed Lover, Martin Lawrence, Laurence Fishbume, 21 2210 14 SHOTS TO THE DOME (Def Jam/Columbia 53323) L.LCoolJ 11 10 Har- Angela Bassett, Morris Chestnut, Sam Jackson, Kadeem 11 TILL DEATH DO US PART (Rap A Lot 53818) GetO Boys 8 14 dison, Debbie Allen and Keenan Ivory Wayans, among others.