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Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams. -
TUNECODE WORK TITLE Value Range 289693DR
TUNECODE WORK_TITLE Value Range 289693DR It S Everyday Bro ££££ 329418BM Boys Are So Ugh ££££ 060461CU Sex On Fire ££££ 258202LN Liar Liar ££££ 2680048Z Willy Can You Hear Me? ££££ 128318GR The Way ££££ 217278AV Better When I'm Dancing ££££ 223575FM I Ll Show You ££££ 188659KN Do It Again ££££ 136476HS Courtesy Call ££££ 224684HN Purpose ££££ 017788KU Police Escape ££££ 065640KQ Android Porn (Si Begg Remix) ££££ 189362ET Nyanyanyanyanyanyanya! ££££ 191745LU Be Right There ££££ 236174HW All Night ££££ 271523CQ Harlem Spartans - (Blanco Zico Bis Tg Millian Mizormac) ££££ 237567AM Baby Ko Bass Pasand Hai ££££ 099044DP Friday ££££ 5416917H The Big Chop ££££ 263572FQ Nasty ££££ 065810AV Dispatches ££££ 258985BW Angels ££££ 031243LQ Cha-Cha Slide ££££ 250248GN Friend Zone ££££ 235513CW Money Longer ££££ 231933KN Gold Slugs ££££ 221237KT Feel Invincible ££££ 237537FQ Friends With Benefits (Fwb) ££££ 228372EW Election 2016 ££££ 177322AR Dancing In The Sky ££££ 006520KS I Wish I Knew How It Would Feel To Be Free ££££ 153086KV Centuries ££££ 241982EN I Love The 90s ££££ 187217FT Pony (Jump On It) ££££ 134531BS My Nigga ££££ 015785EM Regulate ££££ 186800KT Nasty Freestyle ££££ 251426BW M.I.L.F. $ ££££ 238296BU Blessings Pt. 1 ££££ 238847KQ Lovers Medley ££££ 003981ER Anthem ££££ 037965FQ She Hates Me ££££ 216680GW Without You ££££ 079929CR Let's Do It Again ££££ 052042GM Before He Cheats ££££ 132883KT Baraka Allahu Lakuma ££££ 231618AW Believe In Your Barber ££££ 261745CM Ooouuu ££££ 220830ET Funny ££££ 268463EQ 16 ££££ 043343KV Couldn't Be The Girl -
Hip Hop As Oral Literature Patrick M
Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance. -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
UC Irvine Electronic Theses and Dissertations
UC Irvine UC Irvine Electronic Theses and Dissertations Title Rap Lyrics as Evidence: An Examination of Rap Music, Perceptions of Threat, and Juror Decision Making Permalink https://escholarship.org/uc/item/2c6478vr Author Dunbar, Adam Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Rap Lyrics as Evidence: An Examination of Rap Music, Perceptions of Threat, and Juror Decision Making DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Criminology, Law and Society by Adam Dunbar Dissertation Committee: Professor Charis Kubrin, Co-chair Professor Nicholas Scurich, Co-char Professor William Thompson 2017 © 2017 Adam Dunbar Table of Contents List of Figures ........................................................................................................................................... ii List of Tables .............................................................................................................................................iii Acknowledgments ..................................................................................................................................... iv Curriculum Vitae ...................................................................................................................................... v Abstract of The Dissertation ................................................................................................................... -
Nas 1 for Other Uses, See Nas (Disambiguation). Nasir Bin Olu Dara Jones (/Nɑːˈsɪər/; Born September 14, 1973), Better Know
Nas 1 Nas For other uses, see Nas (disambiguation). Nas Nas performing in Paris, France, July 2014 Background information Birth name Nasir bin Olu Dara Jones Also known as Nasty Nas Escobar Born September 14, 1973 Crown Heights, Brooklyn, New York, U.S. Origin Queensbridge, Queens, New York, U.S. Genres Hip hop Occupations Rapper, actor Instruments Vocals, sampler Years active 1991–present Labels The Jones Experience, Def Jam (current) Columbia, Ill Will Records (former) Associated acts 3rd Bass, AZ, Bravehearts, Damian Marley, The Firm, Kelis, Mobb Deep [1] Website Nasir Jones Nasir bin Olu Dara Jones (/nɑːˈsɪər/; born September 14, 1973), better known as Nas /ˈnɑːz/, is an American rapper, songwriter and actor. He is the son of jazz musician Olu Dara. Since 1994, Nas has released eight consecutive platinum and multi-platinum albums and sold over 25 million records worldwide. Aside from rapping and acting, Nas is an entrepreneur through his own record label, retail sneaker store, and magazine publishing. He serves as Mass Appeal Magazine's associate publisher as well as an owner of a Fila sneaker store. He is currently signed to Def Jam Recordings. His musical career began in 1991 when he was featured on Main Source's track "Live at the Barbeque". His debut album Illmatic, released in 1994, received universal acclaim from both critics and the hip hop community. It is frequently ranked as one of the greatest hip hop albums of all time. His follow-up album It Was Written debuted at number 1 on the Billboard Charts, stayed on top for four consecutive weeks, went platinum twice in only two Nas 2 months, and made Nas internationally known.[2][3] From 2001 to 2005, Nas was involved in a highly publicized feud with rapper Jay-Z. -
We Live This Shit Rap As a Reflection of Reality for Inner City Youth
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2011 We Live This Shit Rap As A Reflection Of Reality orF Inner City Youth Parag Patel University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Patel, Parag, "We Live This Shit Rap As A Reflection Of Reality orF Inner City Youth" (2011). Electronic Theses and Dissertations, 2004-2019. 1790. https://stars.library.ucf.edu/etd/1790 WE LIVE THIS SHIT: RAP AS A REFLECTION OF REALITY FOR INNER CITY YOUTH by PARAG PATEL B.A. University of Central Florida, 2008 A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2011 ©2011 Parag Patel ii ABSTRACT Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. -
234 MOTION for Permanent Injunction.. Document Filed by Capitol
Arista Records LLC et al v. Lime Wire LLC et al Doc. 237 Att. 12 EXHIBIT 12 Dockets.Justia.com CRAVATH, SWAINE & MOORE LLP WORLDWIDE PLAZA ROBERT O. JOFFE JAMES C. VARDELL, ID WILLIAM J. WHELAN, ffl DAVIDS. FINKELSTEIN ALLEN FIN KELSON ROBERT H. BARON 825 EIGHTH AVENUE SCOTT A. BARSHAY DAVID GREENWALD RONALD S. ROLFE KEVIN J. GREHAN PHILIP J. BOECKMAN RACHEL G. SKAIST1S PAULC. SAUNOERS STEPHEN S. MADSEN NEW YORK, NY IOOI9-7475 ROGER G. BROOKS PAUL H. ZUMBRO DOUGLAS D. BROADWATER C. ALLEN PARKER WILLIAM V. FOGG JOEL F. HEROLD ALAN C. STEPHENSON MARC S. ROSENBERG TELEPHONE: (212)474-1000 FAIZA J. SAEED ERIC W. HILFERS MAX R. SHULMAN SUSAN WEBSTER FACSIMILE: (212)474-3700 RICHARD J. STARK GEORGE F. SCHOEN STUART W. GOLD TIMOTHY G. MASSAD THOMAS E. DUNN ERIK R. TAVZEL JOHN E. BEERBOWER DAVID MERCADO JULIE SPELLMAN SWEET CRAIG F. ARCELLA TEENA-ANN V, SANKOORIKAL EVAN R. CHESLER ROWAN D. WILSON CITYPOINT RONALD CAM I MICHAEL L. SCHLER PETER T. BARBUR ONE ROPEMAKER STREET MARK I. GREENE ANDREW R. THOMPSON RICHARD LEVIN SANDRA C. GOLDSTEIN LONDON EC2Y 9HR SARKIS JEBEJtAN DAMIEN R. ZOUBEK KRIS F. HEINZELMAN PAUL MICHALSKI JAMES C, WOOLERY LAUREN ANGELILLI TELEPHONE: 44-20-7453-1000 TATIANA LAPUSHCHIK B. ROBBINS Kl ESS LING THOMAS G. RAFFERTY FACSIMILE: 44-20-7860-1 IBO DAVID R. MARRIOTT ROGER D. TURNER MICHAELS. GOLDMAN MICHAEL A. PASKIN ERIC L. SCHIELE PHILIP A. GELSTON RICHARD HALL ANDREW J. PITTS RORYO. MILLSON ELIZABETH L. GRAYER WRITER'S DIRECT DIAL NUMBER MICHAEL T. REYNOLDS FRANCIS P. BARRON JULIE A. -
[Verse 1 — Eminem:] It's Like I'm in This Dirt, Digging up Old Hurt Tried
[Verse 1 — Eminem:] It’s like I'm in this dirt, digging up old hurt Tried everything to get my mind off you, it won’t work All it takes is one song on the radio you’re right back on it Reminding me all over again how you fucking just brushed me off And left me so burnt, spent a lot of time trying to soul search Maybe I needed to grow up a little first Well, looks like I hit a growth spurt But I am coming for closure Don’t suppose an explanation I’m owed for The way that you turned your back on me Just when I may have needed you most Oh, you thought it was over You could just close the chapter And go about your life, like it was nothing You ruined mine, but you seem to be doing fine Well, I’ve never recovered but tonight I betcha that whatcha 'bout to go through’s tougher than anything I ever have suffered Can’t think of a better way to define poetic justice Can I hold grudges, mind saying: "let it go, fuck this" Heart's saying: "I will once I bury this bitch alive Hide the shovel and then drive off in the sunset" [Hook — Sarah Jaffe:] I flee the scene like it was my last ride You see right through Oh, you had me pegged the first time You can see the truth But it's easier to justify What's bad is good And I hate to be the bad guy I just hate to be the bad guy [Verse 2 — Eminem:] And to think I used to think you was the shit, bitch To think it was you at one time I worshipped, shit Think you can hurt people and just keep getting away with it? Not this time, you better go and get the sewing kit, bitch Finish this stitch so you can reap what -
Gloverma2010.Pdf
UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma College of Graduate Studies and Research Ethos as Street Credibility: Defining the Street Artist as a Hero Persona in the Hip-hop Lyrics of Nas A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN ENGLISH COMPOSITION AND RHETORIC by Maria A. Glover Edmond, Oklahoma 2010 iii Dedicated to my brother Keith Hardiman who convinced me to do a study of Nas. iv Acknowledgements I would like to acknowledge these people who have helped me with the completion of this thesis: My committee, Dr. W. Stein, Dr. K. Hochenauer, and Dr. T. Graves, for their extensive assistance and making wonderful suggestions for the betterment of this thesis. I would also like to thank these people for their love and support: God, because of who He is and for His many blessings. My late father, Marvin R. Glover Sr., for the love he gave and the discipline he instilled in me. My mother, Wanda Glover, for her understanding, motherly love, and always being there for me when I need her. My siblings, who have always loved and helped me throughout my life. v TABLE OF CONTENTS Acknowledgments ………………………………………………………………… iv Chapter 1: Introduction to Hip-hop as a Reputable Study ………………………… 1 Rediscovering Ethos as Street Credibility………………………………… 3 The Practice of Falsifying Personas in Commercial or Corporate Rap …… 4 Why the Analysis: Authenticity Validated by Purity versus Commercializing 8 Method of Analysis ………………………………………………………….. 9 Chapter 2: The Ethos of Hip-hop within a Rhetorical Viewpoint and the Concept of Real 11 Chapter 3: A Glimpse into Hip-hop’s History ………………………………………. -
First Amended Complaint for Federal Copyright
Arista Records LLC et al v. Lime Wire LLC et al Doc. 45 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ARISTA RECORDS LLC; ATLANTIC RECORDING CORPORATION; BMG MUSIC; CAPITOL RECORDS, INC.; ELEKTRA ENTERTAINMENT GROUP INC.; INTERSCOPE RECORDS; LAFACE RECORDS LLC; ECF CASE MOTOWN RECORD COMPANY, L.P.; PRIORITY RECORDS LLC; SONY BMG MUSIC FIRST AMENDED COMPLAINT FOR ENTERTAINMENT; UMG RECORDINGS, INC.; FEDERAL COPYRIGHT VIRGIN RECORDS AMERICA, INC.; and INFRINGEMENT, COMMON LAW WARNER BROS. RECORDS INC., COPYRIGHT INFRINGEMENT, Plaintiffs, UNFAIR COMPETITION, CONVEYANCE MADE WITH v. INTENT TO DEFRAUD AND UNJUST ENRICHMENT LIME WIRE LLC; LIME GROUP LLC; MARK GORTON; GREG BILDSON, and M.J.G. LIME 06 Civ. 05936 (GEL) WIRE FAMILY LIMITED PARTNERSHIP, Defendants. Plaintiffs hereby allege on personal knowledge as to allegations concerning themselves, and on information and belief as to all other allegations, as follows: NATURE OF THE ACTION 1. Plaintiffs are record companies that produce, manufacture, distribute, sell, and license the vast majority of commercial sound recordings in this country. Defendants' business, operated under the trade name "LimeWire" and variations thereof, is devoted essentially to the Internet piracy of Plaintiffs' sound recordings. Defendants designed, promote, distribute, support and maintain the LimeWire software, system/network, and related services to consumers for the well-known and overarching purpose of making and distributing unlimited copies of Plaintiffs' sound recordings REDACTED VERSION - COMPLETE VERSION FILED UNDER SEAL Dockets.Justia.com without paying Plaintiffs anything. Plaintiffs bring this action to stop Defendants' massive and daily infringement of Plaintiffs' copyrights. 2. The scope of infringement caused by Defendants is staggering. Millions of infringing copies of Plaintiff s sound recordings have been made and distributed through LimeWire — copies that can be and are permanently stored, played, and further distributed by Lime Wire's users. -
Mixtape Chronicles: an Ethnographic Investigation Into Hip-Hop and African American Culture Concerning Systemic Racism and Oppression
Mixtape Chronicles: An Ethnographic Investigation into Hip-Hop and African American Culture Concerning Systemic Racism and Oppression by Kourtney Moore, M.A. A Dissertation In Technical Communication and Rhetoric Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Michael Faris Chair of Committee Dr. Kendall Gerdes Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School August, 2020 Copyright 2020, Kourtney Moore Texas Tech University, Kourtney Moore, August 2020 ACKNOWLEDGMENTS This project would not be possible without the guidance and support of my dissertation committee members: Dr. Michael Faris, Dr. Kendall Gerdes (aka Dr. G), and Dr. Michael Borshuk. I especially want to thank my chair, Dr. Michael Faris, for his continuous leadership and encouragement throughout this entire process including the pre-proposal, qualifying exams and full proposal. Through the madness of my crazy schedule, anytime I emailed him, he was always willing to set up a meeting to chat. He was also very timely, direct, and detailed with his feedback on drafts. He challenged me to always think critically, analyze the language I used, and most importantly, encouraged me to keep pushing. Dr. Kendall Gerdes, always offered her help and on numerous occasions, she sent me articles and websites that assisted me with the development of my dissertation. She helped me brainstorm early on in the process and provided insightful suggestions about the methods of this study. Dr. G believed in my research topic and my abilities to execute a rhetorically driven dissertation. I appreciate Dr.