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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). -
Nixon, in France,11
SEE STORY BELOW Becoming Clear FINAL Clearing this afternoon. Fair and cold tonight. Sunny., mild- Red Bulk, Freehold EIMTION er tomorrow. I Long Branch . <S« SeUdlf, Pass 3} Monmouth County's Home Newspaper for 90 Years VOL. 91, NO. 173 RED BANK, N. J., FRIDAY, FEBRUARY 28, 1969 26 PAGES 10 CENTS ge Law Amendments Are Urged TRENTON - A legislative lative commission investigat- inate the requirement that where for some of die ser- the Monmouth Shore Refuse lection and disposal costs in Leader J. Edward CrabieJ, D- committee investigating the ing the garbage industry. there be unanimous consent vices tiie authority offers if Disposal Committee' hasn't its member municipalities, Middlesex, said some of the garbage industry yester- Mr. Gagliano called for among the participating the town wants to and the au- done any appreciable work referring the inquiry to the suggested changes were left day heard a request for amendments to the 1968 Solid municipalttes in the selection thority doesn't object. on the problems of garbage Monmouth County Planning out of the law specifically amendments to a 1968 law Waste Management Authority of a disposal site. He said the The prohibition on any par- collection "because we feel Board. last year because it was the permitting 21 Monmouth Saw, which permits the 21 committee might never ticipating municipality con- the disposal problem is funda- The Monmouth Shore Ref- only way to get the bill ap- County municipalities to form Monmouth County municipal- achieve unanimity on a site. tracting outside the authority mental, and we will get the use Disposal Committee will proved by both houses of the a regional garbage authority. -
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. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
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. -
DJ LOGIC LOSES TRADEMARK CLAIM | Page 1
DJ LOGIC LOSES TRADEMARK CLAIM | Page 1 DJ LOGIC LOSES TRADEMARK CLAIM By: Jack Greiner on December 29, 2016 on graydon.law Let’s start this column with a quick question. How many of my readers have heard of DJ Logic? I obviously can’t see hands out there, but I’m going to guess there aren’t a lot of them shooting up in the air. And therein lies the problem for Mr. Logic in his trademark infringement suit against Bryson Hall, II, a rapper also known as “Logic.” The United States Court of Appeals for the Sixth Circuit affirmed the finding of a federal trial court that DJ Logic simply didn’t have the fame necessary to prevail on a trademark infringement suit. By way of background, “DJ Logic” is the stage name for Lee Jason Kibler. According to the court, Kibler uses turntables and others’ vocals to produce music containing jazz and funk elements, among others. He has performed and released several albums under the name “DJ LOGIC” since 1999 though he currently has no record deal. Kibler registered “DJ LOGIC” as a trademark in 2000, allowed the registration to lapse in 2003, and re-registered the name in 2013. Hall has performed under the name “LOGIC” since 2009. He previously used the names “Young Sinatra” and “Psychological.” (Editor’s note – my mom is turning over in her grave thinking that a rapper called himself “Young Sinatra”). In September 2012, Kibler’s attorney sent Hall’s people an email ordering them to stop using the name “LOGIC” and to recall any product or advertisement that did. -
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.