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Uila Supported Apps
Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
The Effects of Digital Music Distribution" (2012)
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon. -
Ithaca College Concert Band Ithaca College Concert Band
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-14-2016 Concert: Ithaca College Concert Band Ithaca College Concert Band Jason M. Silveira Justin Cusick Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Silveira, Jason M.; and Cusick, Justin, "Concert: Ithaca College Concert Band" (2016). All Concert & Recital Programs. 1779. http://digitalcommons.ithaca.edu/music_programs/1779 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band "Road Trip!" Jason M. Silveira, conductor Justin Cusick, graduate conductor Ford Hall Thursday, April 14th, 2016 8:15 pm Program New England Tritych (1957) William Schuman I. Be Glad Then, America (1910–1992) II. When Jesus Wept 17' III. Chester More Old Wine in New Bottles (1977) Gordon Jacob I. Down among the Dead Men (1895–1984) II. The Oak and the Ash 11' III. The Lincolnshire Poacher IV. Joan to the Maypole Justin Cusick, graduate conductor Intermission Four Cornish Dances (1966/1975) Malcolm Arnold I. Vivace arr. Thad Marciniak II. Andantino (1921–2006) III. Con moto e sempre senza parodia 10' IV. Allegro ma non troppo Homecoming (2008) Alex Shapiro (b. 1962) 7' The Klaxon (1929/1984) Henry Fillmore arr. Frederick Fennell (1881–1956) 3' Jason M. Silveira is assistant professor of music education at Ithaca College. He received his Bachelor of Music and Master of Music degrees in music education from Ithaca College, and his Ph. -
“A Powerful and Thrilling Blend of Punk, Rock, Indie and Hardcore That’Ll Get the Teeth in Your Skull Rattling.” - NME
“a powerful and thrilling blend of punk, rock, indie and hardcore that’ll get the teeth in your skull rattling.” - NME "they're in a field of their own... this is one of the albums of the year" - KERRANG! (5/5) “A debut as savage and unrelenting as their name suggests… the trio are kicking up dust and throwing it in the eyes of all that is inane and boring” - Upset (5/5) "post-punks making the brutal beautiful" - Total Guitar “A distinctive shot at post-hardcore… Brutus contribute an intriguing new voice to underground music” Rocksound “exciting, expansive and full of surprises” - Louder Than War (9/10) “‘Burst’ is a truly stunning record allowing two hostile genres (Punkrock and Postrock) to become real friends with apparent ease” - VISIONS (9/12) "Brutus prove they know exactly what they are doing. With this amazing debut, they deserve to get attention!" - FUZE “..if they were British or American, Brutus would’ve already qualified to grace the covers of Rock Sound and Kerrang!” - Record Collector (4/5) “Short sharp burst of genre-jumping heavy rock” - CMU “With Burst, Brutus claims their unique spot in the Belgian rock-scene. There is no other band that sounds like this trio.” - Damusic “They better start packing for a tour along the world’s biggest metropolises.”- Focus Knack (4/5) “‘Explosive' is the most fitting label for Brutus' debut album - 'Burst' carries masses of energy, catchy hooks and emotional melodies alike.” - Eclipsed (8.5/10) "The trio from Belgium releases an extraordinarily good album on Hassle Records. -
(You Gotta) Fight for Your Right (To Party!) 3 AM ± Matchbox Twenty. 99 Red Ballons ± Nena
(You Gotta) Fight For Your Right (To Party!) 3 AM ± Matchbox Twenty. 99 Red Ballons ± Nena. Against All Odds ± Phil Collins. Alive and kicking- Simple minds. Almost ± Bowling for soup. Alright ± Supergrass. Always ± Bon Jovi. Ampersand ± Amanda palmer. Angel ± Aerosmith Angel ± Shaggy Asleep ± The Smiths. Bell of Belfast City ± Kristy MacColl. Bitch ± Meredith Brooks. Blue Suede Shoes ± Elvis Presely. Bohemian Rhapsody ± Queen. Born In The USA ± Bruce Springstein. Born to Run ± Bruce Springsteen. Boys Will Be Boys ± The Ordinary Boys. Breath Me ± Sia Brown Eyed Girl ± Van Morrison. Brown Eyes ± Lady Gaga. Chasing Cars ± snow patrol. Chasing pavements ± Adele. Choices ± The Hoosiers. Come on Eileen ± Dexy¶s midnight runners. Crazy ± Aerosmith Crazy ± Gnarles Barkley. Creep ± Radiohead. Cupid ± Sam Cooke. Don¶t Stand So Close to Me ± The Police. Don¶t Speak ± No Doubt. Dr Jones ± Aqua. Dragula ± Rob Zombie. Dreaming of You ± The Coral. Dreams ± The Cranberries. Ever Fallen In Love? ± Buzzcocks Everybody Hurts ± R.E.M. Everybody¶s Fool ± Evanescence. Everywhere I go ± Hollywood undead. Evolution ± Korn. FACK ± Eminem. Faith ± George Micheal. Feathers ± Coheed And Cambria. Firefly ± Breaking Benjamin. Fix Up, Look Sharp ± Dizzie Rascal. Flux ± Bloc Party. Fuck Forever ± Babyshambles. Get on Up ± James Brown. Girl Anachronism ± The Dresden Dolls. Girl You¶ll Be a Woman Soon ± Urge Overkill Go Your Own Way ± Fleetwood Mac. Golden Skans ± Klaxons. Grounds For Divorce ± Elbow. Happy ending ± MIKA. Heartbeats ± Jose Gonzalez. Heartbreak Hotel ± Elvis Presely. Hollywood ± Marina and the diamonds. I don¶t love you ± My Chemical Romance. I Fought The Law ± The Clash. I Got Love ± The King Blues. I miss you ± Blink 182. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Manual De Procedimentos
Manual de Procedimentos Volume 8 – Área de Comunicação e Imagem Área de Comunicação e Imagem Volume: 8 - ACI MANUAL DE PROCEDIMENTOS Revisão n.º 01-14 Data: set.2014 Índice Princípios Gerais ................................................................................................................. 4 Abreviaturas e Acrónimos .................................................................................................... 6 Legislação Aplicável ............................................................................................................ 7 Mapa de Atualização do Documento ................................................................................... 8 Capítulo 1 – Gabinete de Comunicação e Relações Públicas ............................................. 9 Processo 1 - Marketing e Comunicação ...................................................................................... 9 Subprocesso 1.1 – Gestão da divulgação de notícias e eventos ............................................................. 9 Subprocesso 1.2 - E-mails enviados à comunidade Técnico ................................................................. 10 Subprocesso 1.3 – Gestão de pedidos inclusão de Banners no Website .............................................. 11 Subprocesso 1.4 – Plano de Meios ........................................................................................................ 11 Subprocesso 1.5. - Produção de Conteúdos .......................................................................................... 12 -
Garbage & the Temper Trap Join for Next Winery Series!
Media Release – Thursday July 28 GARBAGE & THE TEMPER TRAP JOIN FOR NEXT WINERY SERIES! With the Preatures, Tash Sultana and Adalita a day on the green has assembled an epic line-up for its next series of winery concerts. Alt-rock pioneers Garbage and Australia’s own multi-platinum chart toppers The Temper Trap will come together as part of their respective national tours for five outdoor events through November/December. The concerts will feature a stellar under-card with special guests The Preatures, Tash Sultana and Adalita. The five band bill kicks off at Victoria’s Rochford Wines on Saturday November 26. These will be the Garbage’s first Australian shows since 2013 and celebrate their acclaimed sixth studio album Strange Little Birds (out now via Liberator Music). To create Strange Little Birds, their first album in four years, Garbage (Shirley Manson, Steve Marker, Duke Erikson and Butch Vig) drew on a variety of influences including the albums they loved growing up. Upon its June release, the album debuted at #9 on the ARIA Album Chart and picked up widespread acclaim: ‘20-plus years after forming, each band member is still fired up to mine new sounds and approaches for inspiration. That willingness to be uncomfortable and look beneath the surface makes Strange Little Birds a rousing success.’ – The A.V. Club ‘The electronic rockers return with a sixth studio album as cool and caustic as their 1995 debut’ – NME ‘Garbage haven’t released an album this immediate, melodically strong and thematically interesting since their self-titled 1995 debut.’ – Mojo In support of the album’s release, Garbage performed a powerful two-song performance on Jimmy Kimmel Live! – watch ‘Empty’ here and ‘Push It’ here. -
Downloading, Streaming and Digital Lending
Music in the Digital Age: Downloading, Streaming and Digital Lending James Mason, University of Toronto Jared Wiercinski, Concordia University Introduction The ways in which we listen to music, and the places we look to find it, have changed radically in the last thirty years. In 1980, Philips and Sony proposed the Red Book standard for Compact Discs (CDs),1 with a little help from Beethoven.2 Although it was not the first storage medium for digital audio, the introduction of the CD signaled that the world of digital music was about to go mainstream. The technology behind communications devices such as telephones, radios, and personal computers continued to evolve, and before long, the foundation for the Internet was firmly in place. This multifaceted and complex "global system of interconnected computer networks"3 was about to revolutionize the distribution of sound recordings. As Leiner says, "The Internet is at once a world-wide broadcasting capability, a mechanism for information dissemination, and a medium for collaboration and interaction between individuals and their computers without regard for geographic location."4 Only fifteen years after the introduction of the Red Book, music was being distributed over the Internet. RealNetworks' RealAudio Player, for example, was released in April 1995, and was one of the first media players capable of streaming media over the Internet.5 Now, recorded music is more accessible than ever before. We enjoy unprecedented access to music through a variety of means, including both web access and via mobile devices such as smartphones, the iPod touch 1 British Broadcasting Corporation (BBC) News, “How the CD Was Developed,” http://news.bbc.co.uk/2/hi/technology/6950933.stm (accessed March 16, 2010). -
688 Rust N-M-E
Product Profile PS H E E T ® Description: 688 RUST N-M-E 688 RUST N-M-E ® is the enemy of rust! 688 RUST N-M-E ® actually converts rust (iron oxide) into iron phosphate, resulting in a substrate that accepts paint readily and permanently. Economically priced and easy to apply, this product is designed to be used whenever removing rust is impractical. RUST N-M-E ® is an excellent acid etch pre-treatment for galvanized and non-ferrous metals, structural steel, iron and aluminum. Partial List of Uses: • Commercial vessels • Ocean containers • Ships hulls • Oil refineries • Smoke stacks • Truck chassis • Steel buildings • Any metal surface Benefits: • Retards rust; ensures a sound base for primer and finish coat • Easily applied using conventional methods and equipment • Adheres so well to the surface, actually etches it so that moisture cannot breakthrough to attack the metal TECHNICAL DATA Product Number: 688 Colors: Clear with Blue Tint Viscosity: 13” - 14” #2 Zahn cup Solids by Weight: 0 Solids by Volume: 0 V.O.C. (Volatile Organic Compounds): * 340 grams per liter or less, 2.8 lbs. per gallon Solvent(s) Used: Water/Alcohol /Acid Mixture Finish: N/A Flash Point: 53ºF/TCC Dry-To-Touch @ 77 ºF: N/A Dry-To-Handle @ 77 ºF: N/A Recoat time @ 77 ºF: N/A Coverage: 600 square feet per gallon Please refer to label for cautions and warnings pertaining to this product. ® 688 RUST-N-M-E Directions for use: CAUTION: RUST N-M-E® contains phosphoric acid. If CLEAN-UP: Flush equipment with water. -
The Relationship Between Local Content, Internet Development and Access Prices
THE RELATIONSHIP BETWEEN LOCAL CONTENT, INTERNET DEVELOPMENT AND ACCESS PRICES This research is the result of collaboration in 2011 between the Internet Society (ISOC), the Organisation for Economic Co-operation and Development (OECD) and the United Nations Educational, Scientific and Cultural Organization (UNESCO). The first findings of the research were presented at the sixth annual meeting of the Internet Governance Forum (IGF) that was held in Nairobi, Kenya on 27-30 September 2011. The views expressed in this presentation are those of the authors and do not necessarily reflect the opinions of ISOC, the OECD or UNESCO, or their respective membership. FOREWORD This report was prepared by a team from the OECD's Information Economy Unit of the Information, Communications and Consumer Policy Division within the Directorate for Science, Technology and Industry. The contributing authors were Chris Bruegge, Kayoko Ido, Taylor Reynolds, Cristina Serra- Vallejo, Piotr Stryszowski and Rudolf Van Der Berg. The case studies were drafted by Laura Recuero Virto of the OECD Development Centre with editing by Elizabeth Nash and Vanda Legrandgerard. The work benefitted from significant guidance and constructive comments from ISOC and UNESCO. The authors would particularly like to thank Dawit Bekele, Constance Bommelaer, Bill Graham and Michuki Mwangi from ISOC and Jānis Kārkliņš, Boyan Radoykov and Irmgarda Kasinskaite-Buddeberg from UNESCO for their work and guidance on the project. The report relies heavily on data for many of its conclusions and the authors would like to thank Alex Kozak, Betsy Masiello and Derek Slater from Google, Geoff Huston from APNIC, Telegeography (Primetrica, Inc) and Karine Perset from the OECD for data that was used in the report.