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Lightning in a Bottle
LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved. -
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ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 B. The Mashup Genre .................................................................... -
*5 ¡£ ¡¡¡Bis MCC Lounge 10 P J
mummttmna. p j This Week in Room 1434 Gallery 1434 dishes up yet another serv The small room contains photographs ing for the art-hungry eye. This week’s show and paintings of spaghetti and other types of is titled “Not with my spatula you don’t" and pasta. Two parallel rows o f photographs run features the work of Paco Shima. O f the along the perimeter o f the room. It's a verit Gallery’s two rooms, Shima’s paintings and able photo sh oot fo r noodles w hen shown in photographs are center stage, and each room different sauces and dishes. It seems to play carries a different theme. The large room in off the idea of what my great-grandma used cludes several paintings, each bordered with to say when looking at her prepared meal: different colon of glitter, making them quite “Looks like picture.” It’s an interesting take pretty to look at. It’s this glittery glory that on every student’s staple m eal, and perhaps it catches your eye and forces you take in the will make you think twice before you sit entire piece. That’s when you’ll realize many down to that next plate of noodles. Paco of them also come with their own scents. It’s Shima’s work m il be on view until May 8. a nice touch. The paintings consist mostly of Gallery hours are from 8 a.m. to 3 p.m. organic shapes. They look like tongues and — Tami T . Mnoian liven, or other organs of the body. -
Music 6581 Songs, 16.4 Days, 30.64 GB
Music 6581 songs, 16.4 days, 30.64 GB Name Time Album Artist Rockin' Into the Night 4:00 .38 Special: Anthology .38 Special Caught Up In You 4:37 .38 Special: Anthology .38 Special Hold on Loosely 4:40 Wild-Eyed Southern Boys .38 Special Voices Carry 4:21 I Love Rock & Roll (Hits Of The 80's Vol. 4) 'Til Tuesday Gossip Folks (Fatboy Slimt Radio Mix) 3:32 T686 (03-28-2003) (Elliott, Missy) Pimp 4:13 Urban 15 (Fifty Cent) Life Goes On 4:32 (w/out) 2 PAC Bye Bye Bye 3:20 No Strings Attached *NSYNC You Tell Me Your Dreams 1:54 Golden American Waltzes The 1,000 Strings Do For Love 4:41 2 PAC Changes 4:31 2 PAC How Do You Want It 4:00 2 PAC Still Ballin 2:51 Urban 14 2 Pac California Love (Long Version 6:29 2 Pac California Love 4:03 Pop, Rock & Rap 1 2 Pac & Dr Dre Pac's Life *PO Clean Edit* 3:38 Promo Only Rhythm Radio December 2006 2Pac F. T.I. & Ashanti When I'm Gone 4:20 Away from the Sun 3 Doors Down Here Without You 3:58 Away from the Sun 3 Doors Down Bailen (Reggaeton) 3:41 Tropical Latin September 2002 3-2 Get Funky No More 3:48 Top 40 v. 24 3LW Feelin' You 3:35 Promo Only Rhythm Radio July 2006 3LW f./Jermaine Dupri El Baile Melao (Fast Cumbia) 3:23 Promo Only - Tropical Latin - December … 4 En 1 Until You Loved Me (Valentin Remix) 3:56 Promo Only: Rhythm Radio - 2005/06 4 Strings Until You Love Me 3:08 Rhythm Radio 2005-01 4 Strings Ain't Too Proud to Beg 2:36 M2 4 Tops Disco Inferno (Clean Version) 3:38 Disco Inferno - Single 50 Cent Window Shopper (PO Clean Edit) 3:11 Promo Only Rhythm Radio December 2005 50 Cent Window Shopper -
« Am I Black Enough for You? » Basket-Ball, Médias Et Culture Afro-Américaine Aux États-Unis (1950-2015)
UNIVERSITÉ SORBONNE NOUVELLE – PARIS 3 ED 514 – EDEAGE ÉTUDES ANGLOPHONES, GERMANOPHONES ET EUROPÉENNES EA 4399 – CREW CENTER FOR RESEARCH ON THE ENGLISH-SPEAKING WORLD Thèse de doctorat Anglais (civilisation américaine) Yann DESCAMPS « Am I Black Enough for You? » Basket-ball, médias et culture afro-américaine aux États-Unis (1950-2015) VOLUME 2 : Annexes Thèse dirigée par Mme la Professeure Divina FRAU-MEIGS Soutenue publiquement le 4 décembre 2015 Jury : - M. Daniel DURBIN, Professeur, University of Southern California - Mme Divina FRAU-MEIGS, Professeur, Université Sorbonne Nouvelle – Paris 3 - M. Jean-Paul GABILLIET, Université Bordeaux Montaigne - M. Olivier PÉGARD, Maître de Conférence, Université Paris-Est Créteil Val-de-Marne - M. Georges VIGARELLO, Professeur émérite, École des Hautes Études en Sciences Sociales 2 Annexe n°1 : Entretiens Entretien avec Tariq Abdul-Wahad Ancien joueur universitaire (Michigan State) et NBA (Sacramento, Orlando, Denver, Dallas). Entraîneur d’une équipe de lycée à San José. Propos recueillis le 24 février 2014 en marge d’une conférence à USC. « It was like you had black kids from New York in the 1960s being coached by white men from Mississippi. The cultural disconnect was that drastic. France, because of its colonies, half the team is black. There was a serious disconnect between the players and the staff. When I was a rookie, we had 3 meetings: one to manage your money, one for security matters, one to handle lovers. All this was meant to protect the NBA brand, the corporate brand. We’re athletes, but we’re more than athletes. I would love to see these corporations consider athletes as individuals, just as they consider themselves. -
Hip-Hop, Postmodernism, and African-American Vernaculars
Down at the Cross Roads: Hip-Hop, Postmodernism, and African-American Vernaculars It is sadly ironic that the contemporary discourse which talks the most about heterogeneity, the decentered subject, declaring breakthroughs that allow recognition of otherness, still directs its critical voice primarily to a specialized audience, one that shares a common language rooted in the very master narratives it claims to challenge. If radical postmodernist thinking is to have a transformative impact then a critical break with the notion of "authority" as "mastery over" must not simply be a rhetorical device, it must be reflected in habits of being, including styles of writing as well as chosen subject matter. --bell hooks, "Postmodern Blackness" 1 It's after the end of the world. Don't you know that? -- Sun Ra2 It has become a customary -- and in some cases rather gruelling -- ritual to start any new book with the word "postmodern" in its title with a debate on just what postmodernism is. By the time such a debate is completed, most readers in search of a stimulating and engaging text will have been successfully warded away, leaving the stage clear for the cognoscenti to address each other in the familiar terms of their ongoing arguments among themselves. I would like to begin instead with an opening for readers, starting with a sample of Umberto Eco: "Postmodernism is not a trend to be chronologically defined, but, rather . a way of operating."3 Such a definition, while it by no means encompasses all the arts and practices which set themselves forth -- or are set forth -- as postmodernisms, 1 Postmodern Culture, vol. -
Musica Straniera
MUSICA STRANIERA AUTORE TITOLO UBICAZIONE 4 Hero Two pages Reinterpretations MSS/CD FOU 4 Non Blondes <gruppo musicale>Bigger, better, faster, more! MSS/CD FOU 50 Cent Get Rich Or Die Tryin' MSS/CD FIF AA.VV. Musica coelestis MSS/CD MUS AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Rotterdam Hardcore MSS/CD ROT AA.VV. Febbraio 2001 MSS/CD FEB AA.VV. \Il \\mucchio selvaggio: agosto 2003 MSS/CD MUC AA.VV. \Il \\mucchio selvaggio: aprile 2004 MSS/CD MUC AA.VV. Tendenza Compilation MSS/CD TEN AA.VV. Mixage MSS/CD MIX AA.VV. Hits on five 3 MSS/CD HIT AA.VV. \Il \\mucchio selvaggio: ottobre 2003 MSS/CD MUC AA.VV. \The \\Brain storm selection MSS/CD BRA AA.VV. Solitaire gold MSS/CD SOL AA.VV. Casual love MSS/CD CAS AA.VV. Oh la la la MSS/CD OHL AA.VV. \The \\magic dance compilation MSS/CD MAG AA.VV. Balla la vita, baby vol. 2 MSS/CD BAL AA.VV. \Il \\mucchio selvaggio: dicembre 2003 MSS/CD MUC AA.VV. Harder they come. Soundtrack (The) MSS/CD HAR AA.VV. Cajun Dance Party MSS/CD CAJ AA.VV. \Les \\chansons de Paris MSS/CD CHA AA.VV. \The \\look of love : the Burt Bacharach collection MSS/CD LOO AA.VV. \Le \\canzoni del secolo : 7 MSS/CD CAN AA.VV. Burning heart CD1 MSS/CD BUR AA.VV. \The \\High spirits: spirituals dei neri d'America MSS/CD HIG AA.VV. Dark star rising MSS/CD DAR AA.VV. Merry Christmas from Motown MSS/CD MER AA.VV. -
STYUKA WEATHERS STORM Business 4 .College
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 1998-04-29 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (1998). All Xavier Student Newspapers. 2798. https://www.exhibit.xavier.edu/student_newspaper/2798 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. ][ Newswire's M9st Intriguing A student's run-in with the Athletes of the Year pqlice over fake ID's . page 11 page 9 STYUKA WEATHERS STORM Business 4 .college. renamed BY KARA BENKEN MANAGING ED1TOR Rev. James E. Hoff, S.J.; presi dent of Xavier University, and the Board of Trustees announced Monday that the· College ofBusiness Administration will be named in honor of two founders of The Western and Southern Life Insur~ ance Company, brothers William J'. Wil liams and Charles F. Williams. The Williams College of Business Adminis tration will be officially dedicated Thurs day, May 7. "Naming our business college for two such outstanding men; men whose .descendants have continued their tradi tion of leadership in Cincinnati busi NEWSWIRE PHOTO BY PETE HOL TERMANN ness, education and charitable circles, is While the crowd looks on, junior Andrew Peters, donning a cow outfit, pays to throw a pie at senior Roderick Hinton during agreathonorforall ofus at Xavier,'' said Saturday's STYUKA charity festival. -
The Socio-Political Influence of Rap Music As Poetry in the Urban Community Albert D
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2002 The socio-political influence of rap music as poetry in the urban community Albert D. Farr Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the African American Studies Commons, American Popular Culture Commons, and the Poetry Commons Recommended Citation Farr, Albert D., "The ocs io-political influence of rap music as poetry in the urban community" (2002). Retrospective Theses and Dissertations. 182. https://lib.dr.iastate.edu/rtd/182 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The socio-political influence of rap music as poetry in the urban community by Albert Devon Farr A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee Jane Davis, Major Professor Shirley Basfield Dunlap Jose Amaya Iowa State University Ames, Iowa 2002 Copyright © Albert Devon Farr, 2002. All rights reserved. 11 Graduate College Iowa State University This is to certify that the master's thesis of Albert Devon Farr has met the thesis requirements of Iowa State University Signature redacted for privacy Signature redacted for privacy Signature redacted for privacy Signature redacted for privacy Ill My Dedication This Master's thesis is dedicated to my wonderful family members who have supported and influenced me in various ways: To Martha "Mama Shug" Farr, from whom I learned to pray and place my faith in God, I dedicate this to you. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
Keepin' It Real Vs. Bling-Bling
Lund University SANK01: VT-2012 Sociological Institution Author: Carolina Larnett Department of Social Anthropology Supervisor: Steven Sampson Keepin’ It Real vs. Bling-Bling: Shopping for Identity among Swedish Hip-Hoppers Graffiti mural, depicting rap legend 2Pac, in New York City http://assets.nybooks.com/media/photo/2010/12/21/Chiasson_1_jpg_630x423_crop_q85.jpg Abstract This paper describes the discourse of authenticity and the creating of identity through popular culture, using hip-hop, as a case to study. Based on data from how Swedish youth take in hip-hop through music lyrics, rapper stereotypes, the gangster rap subgenre and rap battles, it shows that including oneself into this culture can lead to changes in one’s identity and the redefinition of one’s persona. It discusses how hip-hop influence leads to youth creating their own local oppositional culture, re-constructing perceptions of authenticity and acts as guidance in the quest for an independent identity during adolescence and early adulthood. The theoretical material considering authenticity will primarily be provided by Charles Lindholm and David Boyle. Keywords: social anthropology, authenticity, identity, popular culture, hip-hop, culture, youth, community 2 List of Hip-Hop slang and terms . Battle (Rap Battle) – A contest where you orally recite rap or hip-hop lyrics back and forth between at least two individuals. The crowd decides who the better emcee is after they have battled it out for a couple of rounds. Beef – Slang for fighting someone or being aggressive. Have a grudge or starting one with another person in the Hip-Hop industry. (Beef is not what these famous niggas do on the mic. -
Public Enemy 2013.Pdf
PERFORMERS Due to Public Enemy’s work, hip-hop established itself as a global force. ------------------------------------------- ---------------------------- By Alan Light _________________________________ UN-DM C had a more revolutionary impact on the way records are made. N.W . A spawned more imitators. The Death Row and Bad Boy juggernauts sold more R albums. Jay-Z has topped the charts for many more years. But no act in the history of hip-hop ever felt more important than Public Enemy. A t the top o f its game, PE redefined not just what a rap group could accomplish, but also the very role pop musicians could play in contemporary culture. Lyrically, sonically, politi cally, onstage, on the news - never before had musicians been considered “radical” across so many different platforms. The mix of agitprop politics, Black Panther-meets-arena-rock packaging, high drama, and low comedy took the group places hip-hop has never been before or since. For a number of years in the late eighties and early nineties, it was, to sample a phrase from the Clash, the only band that mattered. I put them on a level with Bob Marley and a handful of other artists,” wrote the late Adam Yauch (the Beastie Boys were one of Public Enemy's earliest champions). “[It’s a] rare artist who can make great music and also deliver a political and social message. But where Marley’s music sweetly lures you in, then sneaks in the message, Chuck D grabs you by the collar and makes you listen.” Behind, beneath, and around it all was that sound.