Exploring Music in a Globalized World
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Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice. -
Siriusxm and Pandora Present Halloween at Home with Music, Talk, Comedy and Entertainment Treats for All
NEWS RELEASE SiriusXM and Pandora Present Halloween at Home with Music, Talk, Comedy and Entertainment Treats For All 10/13/2020 The world is scary enough, so have some spooky fun by streaming Halloween programming on home devices & mobile apps NEW YORK, Oct. 13, 2020 /PRNewswire/ -- SiriusXM and Pandora announced today they will feature a wide variety of exclusive Halloween-themed programming on both platforms. With traditional Halloween activities aected by the Covid-19 pandemic, SiriusXM and Pandora plan to help families and listeners nd creative and safe ways to keep the spirit alive with endless hours of music and entertainment for the whole family. Beginning on October 15, SiriusXM will air extensive programming including everything from scary stories, to haunted house-inspired sounds, to Halloween-themed playlists across SiriusXM's music, talk, comedy and entertainment channels. Pandora oers a lineup of Halloween stations and playlists for the whole family, including the newly updated Halloween Party station with Modes, and a hosted playlist by Halloween-obsessed music trio LVCRFT. All programming from SiriusXM and Pandora is available to stream online on the SiriusXM and Pandora mobile apps, and at home on a wide variety of connected devices. SiriusXM's Scream Radio channel is an annual tradition for Halloween enthusiasts, providing the ultimate bone- chilling soundtrack of creepy sound eects, traditional Halloween favorite tunes, ghost stories, spooky music from classic horror lms, and more. The limited run channel will also feature a top 50 Halloween song countdown, "The Freaky 50" and will play scary score music, sound eects, spoken word stories 24 hours a day, and will set the tone for a spooktacular haunted house vibe. -
The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything. -
Judgment for Copyright Infringement and Permanent Injunction with the 16 Consent and on the Advice of Such Independent Legal Counsel
UMG Recordings, Inc. v. BCD Music Group, Inc. et al Doc. 199 1 JEFFREY D. GOLDMAN (SBN 155589) [email protected] 2 ROBERT J. CATALANO (SBN 240654) [email protected] 3 LOEB & LOEB LLP 10100 Santa Monica Boulevard, Suite 2200 4 Los Angeles, California 90067-4120 Tel: 310-282-2000/Fax: 310-282-2200 5 Attorneys for Plaintiff JS-6 6 7 8 UNITED STATES DISTRICT 9 CENTRAL DISTRICT OF CALIFORNIA 10 UMG RECORDINGS, INC., a Case No. CV 07-05808 SJO (FFMx) 11 Delaware corporation Assigned to the Hon. S. James Otero 12 Plaintiff, JUDGMENT FOR COPYRIGHT 13 v. INFRINGEMENT AND PERMANENT INJUNCTION 14 BCD MUSIC GROUP, INC., a Texas corporation; and DOES 1-10, inclusive 15 Defendants. 16 17 18 19 20 21 22 23 24 25 26 27 28 LA1837611.1 JUDGMENT AND PERMANENT INJUNCTION 212374-10008 Dockets.Justia.com Based on the stipulation by and between plaintiff UMG Recordings, Inc., a 1 Delaware corporation (“UMG”), and BCD Music Group, Inc., a Texas corporation 2 (“BCD”), and for good cause appearing, 3 4 IT IS ORDERED, ADJUDGED, AND DECREED THAT: 5 6 1. BCD infringed UMG’s copyrights in the following forty-three (43) 7 sound recordings (the “43 Sound Recordings”): 8 9 1. “War with God” (Ludacris) from the album Release Therapy. 10 2. “My House” (Lloyd Banks). 3. “Over and Over” (Nelly) from the album Suit. 11 4. “3 Kings” (Slim Thug). 12 5. “Say I” (Christina Milian). 6. “Bang Bang” (Young Buck), from the album Straight Outta 13 Cashville. 14 7. “Diamonds” (Fabolous). 8. -
Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G. -
EXPLORING MUSIC with Bill Mcglaughlin Broadcast Schedule – Spring 2020
EXPLORING MUSIC with Bill McGlaughlin Broadcast Schedule – Spring 2020 PROGRAM #: EXP 20-27 RELEASE: Week of April 6, 2020 Wagner's Ring Cycle For most operas, a five-hour survey would more than cover every measure, every note – but not this one, Wagner’s crowning achievement. Bill helps us understand and enjoy this long and fanciful journey, with richly textured music that continues to grow in complexity as the operas proceed. Wagner spent a quarter of a century writing the libretto and composing the music that follows the dramatic struggles of gods, heroes, and mythical creatures. We will listen to orchestral preludes, arias, and more from The Rhinegold, The Valkyrie, Siegfried, and Twilight of the Gods. PROGRAM #: EXP 20-28 RELEASE: Week of April 13, 2020 Mendelssohn, Schumann & Brahms String Quartets This week we focus on one of the most delightful and storied chapters of the string quartet's history, centering around the works of three romantic composers—Mendelssohn, Schumann, and Brahms. After 50 years of fantastic string quartets from Haydn, Mozart, Beethoven, and Schubert, the well seemed to be drying up—young composers just weren’t writing string quartets. Operas and piano pieces, yes, but not string quartets, and then to save the day steps in Mendelssohn, Schumann, and Brahms! Bill starts the week off with the double quartet (octet) from 16-year-old Felix Mendelssohn. Felix’s sister, Fanny Mendelssohn, said she felt that she was lightly carried up in the air with this string octet. PROGRAM #: EXP 20- 29 RELEASE: Week of April 20, 2020 Music from the Magic Box — An Excess of Pleasure What happens when your favorite classical music radio host tackles spring cleaning? We reap the benefits of his discoveries! Bill was digging deep into the back of his hall closet when he spied a mysterio us box. -
Scale Agreement Between
Scale Agreement between and October 1, 2015 to September 30, 2020 NFB – CFM SCALE AGREEMENT Page 1 TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. 1 RECOGNITION ....................................................................................................... 4 1. SCOPE ........................................................................................................... 4 2. DEFINITIONS ................................................................................................. 4 3. APPLICABLE FEES....................................................................................... 5 4. PENSION FUND ............................................................................................. 5 5. MEMBERSHIP ............................................................................................... 5 6. TEMPORARY MEMBER PERMITS ............................................................... 6 7. TELEVISION CLIPS OR FILLERS ................................................................. 7 8. LICENCE FEES .............................................................................................. 7 9. SCORING IN CANADA .................................................................................. 7 10. CONDITIONS AND FEES .............................................................................. 7 11. WORK DUES DEDUCTIONS ......................................................................... 8 12. CONTRACTS ................................................................................................ -
10 Chapter 2
10 Chapter 2 Answer 2.3 The ER diagram is shown in Figure 2.1. Exercise 2.4 A company database needs to store information about employees (iden- tified by ssn,withsalary and phone as attributes), departments (identified by dno, with dname and budget as attributes), and children of employees (with name and age as attributes). Employees work in departments; each department is managed by an employee; a child must be identified uniquely by name when the parent (who is an employee; assume that only one parent works for the company) is known. We are not interested in information about a child once the parent leaves the company. Draw an ER diagram that captures this information. Answer 2.4 Answer omitted. Exercise 2.5 Notown Records has decided to store information about musicians who perform on its albums (as well as other company data) in a database. The company has wisely chosen to hire you as a database designer (at your usual consulting fee of $2500/day). Each musician that records at Notown has an SSN, a name, an address, and a phone number. Poorly paid musicians often share the same address, and no address has more than one phone. Each instrument used in songs recorded at Notown has a unique identification number, a name (e.g., guitar, synthesizer, flute) and a musical key (e.g., C, B-flat, E-flat). Each album recorded on the Notown label has a unique identification number, a title, a copyright date, a format (e.g., CD or MC), and an album identifier. Each song recorded at Notown has a title and an author. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Daddy Yankee, Rompe Remix Vienvenidos Al Remix, Cartel Records Se Unieron Las Fuersas Mas Grandes De La Industria We Ready, Sal Del Medio Okay
Daddy Yankee, Rompe Remix Vienvenidos al remix, Cartel Records Se unieron las fuersas mas grandes de la industria We ready, sal del medio okay Daddy Yankee esta ready Lloyd Banks esta ready Young Buck esta ready Yeah yeah estamos ready Juni esta ready Cartel estamos ready Como, this is the remix Rompe, rompe, rompe, let me out Rompe, rompe, rompe, eso fue el puyado Rompe, rompe, rompe, let me out Are you readyyy!!! Rompe, rompe, rompe, break it down Rompe, rompe, rompe, the way she move it ya lo Rompe, rompe, rompe, break it down Let'sss gooo G-UNIT!!! (Lloyd Banks) I move the crowd like when the D's roll up So the money in my jeans fold up Hold up, don't get your eyes swolled up All black and blue on a bottle I love the beef, bitch smacking you ain't a problem I got family in bronx, (heh) and family in the city New Yitty, the home of Big L and Biggie (uhh) I'm so pretty, pinky ring about fitty Doing fifty in a Lac, with D Y on the track My boo no se limita a la hora de romper su boom-boom Su curvas mas calientes que suuu ride-thruuu Ense񡭥 si tiene la actitud mami dale-go dale-go dale-go go G-UNIT!!! All my puertoricans people holla vamonos My ghetto report card, I made the honor roll (yeah) Is getting hot in here, shorty taking off her clothes (her clothes) Shake what ya momma gave ya, make me holla whoaaa (whoaaa) We got the whole club outta control (c'mon) And Daddy Yankee got me smoking that boricua (boricua blunt) I got my G-unit boots on, so you can get stump (stump) Or you can quit playing, and c'mon and get crunk'd