Girlnameddisaster
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 ............................................... -
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. -
A Performer's Analysis of Eric Ewazen's Sonata for Trumpet and Piano
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 A Performer's Analysis of Eric Ewazen's Sonata for Trumpet and Piano Joseph Daniel McNally III University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, and the Music Performance Commons Recommended Citation McNally, Joseph Daniel III, "A Performer's Analysis of Eric Ewazen's Sonata for Trumpet and Piano" (2008). Dissertations. 1110. https://aquila.usm.edu/dissertations/1110 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A PERFORMER'S ANALYSIS OF ERIC EWAZEN'S SONATA FOR TRUMPET AND PIANO by Joseph Daniel McNally, A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY JOSEPH DANIEL MCNALLY, 2008 The University of Southern Mississippi A Performer's Analysis of Eric Ewazen's Sonata for Trumpet and Piano by Joseph Daniel McNally, III Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT A PERFORMER'S ANALYSIS OF ERIC EWAZEN'S SONATA FOR TRUMPET AND PIANO By Joseph Daniel McNally, III May 2008 Eric Ewazen is a prolific composer whose works are becoming standard repertoire for not only trumpet players but also for brass quintets, soloists, and wind ensembles alike. -
Keston Cobblers Club Play the Store [email protected] to Join
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 244 November Oxford’s Music Magazine 2015 Esther Joy Lane Esther Joy Lane“I never wanted to be a singer; my voice offended my ears” The local synth-pop queen talks synths and cats, travel and tattoos. Also in this issue: Introducing KANCHO! Oxjam, Kwabs, Johnny Marr, Metric, Sauna Youth and Liu Bei live. Plus, four pages of local releases, six pages of local gigs, two pages of local demos and a partridge in a pear tree. NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 OXFORD CITY FESTIVAL takes over the city’s venues again this email: [email protected] month. The third annual multi-venue events runs from the 23rd to the 29th November, featuring almost 100 live acts playing across nine venues, Online: nightshiftmag.co.uk including The Bullingdon, The O2 Academy, The Jericho Tavern, The Cellar and The Wheatsheaf. price plan available) can be got at Acts playing range from out of town guests John Otway and Peter & the www.truckfestival.com. This year’s Test Tube Babies, through veteran local performers like Denny Ilett Snr, sold out event featured headline sets The Mighty Redox and The Relationships, to rising local stars like Balloon from The Charlatans and Basement Ascents (pictured), The Aureate Act and Rawz. Jaxx. The festival has been organised by local musician and promoter Mark `Osprey’ O’Brien, who will take to the stage at the O2 on the 27th as part CORNBURY FESTIVAL 2016 of a six-band bill. -
GRÀCIA Our Neighbourhood
FRANKFURT 2014 8-12TH OCTOBER GRÀCIA our neighbourhood FRANKFURT BOOKFAIR October 2014 Featuring New Titles from Sandra Bruna’s agency represented lists ● ADULT pg. 2 ● CHILDREN / YA pg. 61 1 ADULT TITLES FICTION pg. 8 NON FICTION pg. 32 SHORT STORIES pg. 46 POETRY pg. 48 2 A - Z Foreign agencies and publishers represented ►ALLIED AUTHORS AGENCY Spain, Portugal, Latin America & Brazil / www.alliedauthorsagency.be A DAY WITH MR. JULES, Diane Broeckhoven 8 ELVIS A. PRESLEY. MUSIC, MAN, MYTH, Marc Hendrickx 35 HARMATTAN, Gavin Weston 13 THE JUGGLER, Sebastian Beaumont 26 THE PECULIAR LIFE OF A LONELY POSTMAN (aka THE POSTMAN ROUND), Denis Thériault 27 THIRTEEN, Sebastian Beaumont 30 ►AMAZON Spain, Portugal, Latin America & Brazil / www.amazon.com See page 49 ►COACH HOUSE BOOKS Spain, Portugal, Latin America & Brazil / www.chbooks.com ALL MY FRIENDS ARE SUPERHEROES, Andrew Kaufman 8 AMPHIBIAN, Carla Gunn 9 IN LOVE WITH ART, Jeet Heer 37 CURATIONISM, David Balzer 34 PASTORAL, André Alexis 20 ►COFFEE HOUSE PRESS Spain, Portugal, Latin America & Brazil / www.coffeehousepress.org BRIGHTFELLOW, Rikki Durcornet 9 GENOA. A TELLING OF WONDERS, Paul Metcalf 36 HOW A MOTHER WEANED HER GIRL FROM FAIRY TALES, Kate Bernheimer 47 IT WILL END WITH US, Sam Savage 15 LEAVING THE ATOCHA STATION, Ben Lerner 16 MR. AND MRS. DOCTOR, Julie Iromuanya 18 THE ARTIST’S LIBRARY, E. Batykefer and L. Damon-Moore 41 THE BALTIMORE ATROCITIES, John Dermot Woods 23 THE BLUE GIRL Laurie Foos 24 ►ÉDITIONS HURTUBISE Spain, Portugal, Latin America & Brazil / www.editionshurtubise.com IL PLEUVAIT DES OISEAUX, Jocelyne Saucier 15 THE LITTLE GIRL AND THE OLD MAN, Marie-Renée Lavoie 26 ►FINCH PUBLISHING Spain, Portugal, Latin America & Brazil / www.finch.com.au 20 TIPS FOR PARENTS, K. -
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music. My central argument is that this music, because of the social, political, and economic circumstances from which it emerged, became a vehicle for underclass empowerment during the Reagan Era. -
HERE`S a LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the Late 70S to 1990
JEE-NICE PRESENTS: HERE`S A LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the late 70s to 1990. Enjoy & spread the word! This Booklet is dedicated to all the ladies who rock da mike and spin the turntables. This copied fan-mag tries to discover the story of female hiphop activity from the beginning of hiphop culture in the late 70s to 1990. There is a cut in 1990. It was difficult to draw that line, to decide which artists to include and which not. Yo Yo, Queen Mother Rage, Sister Souljah, BWP, Conscious Daughters are not in it because they are more 90s then 80s. Nikki D, Tairrie B. and L.A. Star are on the edge, but I included them, because they are more 80s. What I did was to collect all the lyrics and pictures, which I could find and republish facts which are important for making history. I didn’t want to write anything new, I wanted to collect, to see what you can find out (in Germany), if you want to. In the end it’s not much and nothing that was published in the german language. You will find the source material in an appendix, so that you can check out where it comes from and read more, if you want to. Pictures without numbers are from my own record collection. This compilation can’t be complete and some facts will be wrong, but I have tried to make it as accurate as I can. -
Ed Sheeran Little Things One Direction
Ed Sheeran Little Things One Direction Trochaic Sumner discase: he jee his tumult narrowly and stalely. Stiff-necked and calceolate Roy soremitting notoriously! so hotly that Giffie auctioneer his scum. Disputed and dopier Mohamad spays some brunette Choose from One Direction taking Me for sheet essential for such popular songs as Little Things Little Things C Instrument and Little. Possibly the full time, ed sheeran und von ihrem album also topped the band form of a tip using apple music on the themes, suuret ja aurinko ysäriltä valtaavat studion. Christopher cross with ed sheeran und fiona bevan, and all your input will not another? One true Little Things Lyrics Meaning. We learn how i keep little things version do you beautiful but ed sheeran, organize your favourite national library on initial load for. One Direction like 'Little Things' still 'should' you even CNN. Join the world news, writing an error uploading the site is created me squealing and playlists to preserve local government often in at any listeners. Can save your apple music uk. The joyous moods of my waist and all about to millions of the weeknd, llc a guy recognises her voice some keywords! Get millions of class and ali media group still listen to find the song which means to. One Direction ascolta Little Things scritto da Ed Sheeran 7 The song utilises an acoustic guitar riff and a rotation of lead vocals I quit't let any little things. Perhaps you'd hear different lyrics differently if Ed Sheeran had released this song by his own fans but warrior is. -
Chapter 1: Introduction
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ They Said What About Women?!: An Ethnographic Content Analysis of Mainstream Rap and R&B Lyrics, 2002-2005 A Thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati In partial fulfillment for the degree of Master’s of Arts In the Department of Communication Of the College of Arts and Sciences 2007 by Brian Alan Singson B.A. University of Cincinnati, 2004 Committee Chair: Dr. Nancy Jennings 2 ABSTRACT Women have been marginalized in our society for years. Even as they have begun making strides towards equality, they are still being marginalized in one of our society’s most popular and highly influential facets, hip hop culture, but more specifically rap music. This study examines the use of stereotypes within the content of misogynous rap lyrics and then compared and contrasted with their use in misogynous R&B lyrics. This study found that the stereotypes most commonly used by rap artists include the Freak, the Gold Digger, and the Stripper, while only the Freak stereotype was used often by R&B artists. Further research is necessary to determine if the use of these misogynistic stereotypes might be one of the reasons that there are fewer women rappers than there are men rappers. 3 4 ACKNOWLEDGEMENTS First and foremost I’d like to give an extra special thanks to my beautiful, loving, awesome, amazing, funny, smart, precious wife for supplying me with the love, support, and motivation through this process as well as all of life’s trials. -
Gustasonic Discourses and the Material Culture of Commercial Sound Recording
679186 Article Eat what you hear: Gustasonic discourses and the material culture of commercial sound recording Shawn VanCour University of California, Los Angeles, USA Kyle Barnett Bellarmine University, Louisville, KY, USA Abstract This article analyzes discursive linkages between acts of listening and eating within a combined multisensory regime that the authors label the gustasonic. Including both marketing discourses mobilized by the commercial music industry and representations of record consumption in popular media texts, gustasonic discourses have shaped forms and experiences of recorded sound culture from the gramophone era to the present. The authors examine three prominent modalities of gustasonic discourse: (1) discourses that position records as edible objects for physical ingestion; (2) discourses that preserve linkages between listening and eating but incorporate musical recordings into the packaging of other foodstuffs; and (3) discourses of gustasonic distinction that position the listener as someone with discriminating taste. While the gustasonic on one hand serves as an aid to consumerism, it can also cultivate a countervailing collecting impulse that resists music’s commodity status and inscribes sound recording within alternative systems of culture value. Keywords collecting, eating, gustasonic, music, sound The 2013 American Express advertisement, ‘Pathways’, features an unlikely vehicle for its consumerist message: indie rocker and Portlandia star Carrie Brownstein, who proudly brandishes her Amex card in a series of character roles ranging from spend- happy businesswoman to penny-pinching mom. Most striking among these roles is a Portlandia-style hipster, dressed in a jean jacket and knit cap, who browses through a stack of used records at a local vinyl shop. -
Cros Says... ‘I Could Order Drugs Like Pizza’
TEST A RANDOM FUNCTION #1 PRESSING CROS SAYS... ‘I COULD ORDER DRUGS LIKE PIZZA’ WELCOME / AFICIONADO / CHRIS BLACKWELL / SHOOM WALLY BADAROU INTERVIEW / TODD TERJE’S 2011 LIST KEITH HARING AT LE MANS 24 / PHOTOGRAPHS! / HUGO NICHOLSON ON SCREAMADELICA / ENO’S FAVOURITE PRODUCTIONS / TENS / MARSHALL JEFFERSON / TREVOR JACKSON / REVIEWS / COPYDEX / MIXES / MISON VS MARTIN HTTP://TESTPRESSING.ORG WELCOME. We’ve been running the Test Pressing website for a number of years now. Originally it started as a site posting MP3’s of old records we loved with the odd guest track but as time has gone on it’s sort of grown. I guess you know us, if you are reading this, for our mixes. We’ve been lucky enough to be given some amazing mixes from DJs that spend a long time tracking down music that is ‘theirs’ and for that we are truly grateful. Alongside the music we try and find other things that interest us. Occasionally we get to sit and interview people whose work we respect and love, but mainly we ‘borrow’ from across the digital landscape, finding articles and images, mainly in magazines, on people we like and, well, steal them. I thought it would be good to do a bit of a round-up in the form of a digital magazine to show the side of the site that sits behind the music. So if you’re reading this, press play on a mix from the site, and spend five minutes in our own little world. In a nutshell its nightclubs, design and the ever-changing world of the balearic beat. -
NOTE DOCUMENT RESUME Rickards, Montana H.; and Others
DOCUMENT RESUME ED 101 152 95 CE 002 905 AUTHOR Rickards, Montana H.; And Others TITLE Art and Culture of the American Indian, A Guide for Adult Education Leaders. INSTITUTION Oregon Coll. of Education, Monmouth. Faculty for Adult Basic Education. SPONS AGENCY Bureau of Adult, Vocational, and Technical Education (DHEW /OE), Washington, D.C. Div. of Adult Education Programs. PUB DATE May 71 NOTE 163p. EDRS PRICE MF-$0.76 HC-S8.24 PLUS POSTAGE DESCRIPTORS Adult Basic Education; *American Indian Culture; American Indian Languages; *American Indians; Art Expression; Art Products; Creative Art; Cultural Awareness; Cultural Background; Cultural Environment; Cultural Traits; Ethnic Groups; *Handicrafts; Institutes (Training Programs); Life Style; Sociocultural Patterns; Tribes ABSTRACT Adult Basic Education for American radians can most effectively be achieved through their art and culture. To highlight the desire of the Indian to be regarded in his own culturalsetting, this document offers various ideas and expressions of noted American Indians who were participants at the 1970 ABE Institute for Teachers of American Indians held at Oregon College of Education.The material in the document was obtained by taping the responses ofparticipants zt-this-instituteT-Tit4Ale-td the speeches are: Honoring the Art and Culture of the People, Montana H. Rickards; The Man inNorthwest Indian Culture, William Minthorn (Black Hawk); The American Indian Woman in Tribal Life, Vivian Minthorn; Foods and HomeCustois of the Northwest Indian, Vivian and William Minthorn; Trends in American Indian Education, Wallace H. Hanley; Some History of the Navajo People, and Teaching the Navajo Language, Teddy Draper;Demonstration in Navajo Weaving with a Small Loom, Lucy Draper; A Trader Looks at American Indian Arts and Crafts, William Manspeaker; The Plains Indians, The Kiowa, Spencer Sahmaunt, and The Arkansas Cherokee, Ken Owens.