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VOU69 Noi 20 MERCYHURST COLLEGE, GLENWOOD|HILLS,*ERIE, PA .116546 April 18,1996 16Th Annual Laker Live-In
VOU69 NOi 20 MERCYHURST COLLEGE, GLENWOOD|HILLS,*ERIE, PA .116546 April 18,1996 16th Annual Laker Live-In Above I Photo by Gagan Suri Left: Comedienne Renee Hicks entertaining everybody at the Student Union, Right: Ric and Brian Butler, musicians, play for students in the Student Union on Apr. 11. r By Gagan Suri Merciad News Editor ferent high schools in the coun- try. Most of the students who at- coffee night where Ric and Brian breakfast with a class schedule presentation by Matt Whelan, di- Last week was very hectic for, tended the Live -in have already Butler, musicians entertained ev- which began at 9:40 a.m. and rector of admissions, and finally the Admissions staff, who were been accepted to the college) The erybody. ended at 2:05 p.m.?Bruno said, the visit ended with the picnic in involved in organizing the 'Six- students arrived on April 11 with "The event gives the visiting 'The faculty were truly helpful. the student Union. teenth Annual Laker Live-In,' their sleepingbags. They all had a students the opportunity to get a Some agreed to hold classroom Bruno said, T h e college com- held on April. 11 and 12. The welcome and introduction at the realistic taste of the Hurst. In or- sessions, while others allowed munity really pulled together to admissions staff has been doing a- cafeteria and they were hosted by der to accomplish*this goal our students to visit their classes that make this event a success. The special visit for all the incoming volunteer freshmen of this year office planned activities that our were in progress." S visiting students were content freshman class each year to intro- living in Baldwin Hall and current students at the college One of the visiting students when they left the campus, and I diice them to the college and help McAuley Hall.J Later in the might take advantage of as well," told the admissions staff that the believe we will see many of them all the students make an informed evening MSG/SAC organized a said Grace Bruno from the ad- faculty was really cool, and being roaming the Hill this fall. -
Imsic We for Everyone in the Business of Music 2 JULY 1994 £2.80 What
[imsic we For Everyone in the Business of Music 2 JULY 1994 £2.80 What a waste How to spend £21 m for no qood reason at ail rCOMMENT I anythingper CD that's up to équivalent 5.2m units. to sales of consumée!are even worse. by the Itaffair, is a thetribute effecl t tant thing now is to heal the areThe even costs more of thehorrendous. MMC inquiry The despitethe industry's it ail we management have managed thî t m Nî'd be doing vement in their lot. Understand- pansoiie of out its to389 about pages^That's £54,000 forone each hell lesson of the past ISmonths It of ail this - as IGLESIAS STING, ART GARFUNKEL and DOLLYPARTON. Indudcs Ihe single 'CRAZY' as seen on GMT\ TheNick, Big LondonBreakfast, Tonight Good and Morning Surprise with Surprise. Ann ar » CD & MC 474738 2 • 4 COU MI1IA ►►►►►►►► CAN GEORGE WIN AT APPEAL? - p9 ► ►►►►►►►► Order from Sony Music Telcsales: 0296 3951; ■■■■ Managing Media Change Are you: Please contact: ® under pressure to keep down costs? Paul Styles ® rethinking your rôle in the emerging Head of Media Consulting marketplace? KPMG Management Consulting ® confused by the pace of technological David Murrell change? Head of Media & Entertainment e looking for new commercial opportunities? KPMG Peat Marwick If so, KPMG can help. 1 Puddle Dock London EC4V 3PD Building on our base as one of the world's Téléphoné 071 236 8000 leading accountancy firms, we have a specialist média group providing expertise in management consulting, corporate finance, stratégie analysis and tax, as well as audit. -
New Streaming Channels with Music's Legendary and Game-Changing Artists to Launch Today on Siriusxm
NEWS RELEASE New Streaming Channels with Music's Legendary and Game-Changing Artists to Launch Today on SiriusXM 7/15/2020 Beastie Boys, Bob Marley, Coldplay, Michael Jackson and Queen channels to Launch at Noon ET for 30 days The Prince Channel returns through August 13 Each Dedicated Artist Channel, Authorized and Produced In Cooperation With The Artists and Their Teams, Features Career-Spanning Hits, Rare Recordings, Interviews, and More Limited-run channels to include guest hosts including Akon, Beck, Big Boi, Carlos Santana, Catherine Zeta-Jones, CeeLo Green, Cypress Hill, Demi Lovato, Dua Lipa, Foo Fighters (Dave Grohl and Taylor Hawkins), Michael Rapaport, Rosie Perez, Sean Lennon, Shawn Mendes and more Click HERE to download individual channel logos through 7/21/20. NEW YORK, July 15, 2020 /PRNewswire/ -- SiriusXM announces the launch of its latest collection of exclusive radio channels dedicated to iconic musicians starting today at Noon ET. SiriusXM's presents brand new channels from Beastie Boys, Bob Marley, Coldplay, Michael Jackson and Queen, plus the return of The Prince Channel, that will be available through August 13 on the SiriusXM app, internet connected devices and smart speakers in your home. SiriusXM has collaborated with these legendary artists and their teams to create unique, hand-crafted radio channels that listeners and fans will nd nowhere else. For information on these new music channels dedicated to iconic artists head over to https://www.siriusxm.com/newchannels. Beastie Boys Channel will feature classic bangers, deep cuts, rarities and live recordings celebrating the legacy and inuence of Michael "Mike D" Diamond, Adam "ADROCK" Horovitz and the late Adam "MCA" Yauch. -
PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED
PURPLE = New Disc YELLOW = NEW MENU OR SUB MENU BLUE = NEW TRACK GREEN = NEW AUDIO STREAM RED = TOTAL AUDIO TRACKS CATALOGED GRAY = TOTAL VIDEO OPTIONS CATALOGED Criterion Collection Disc 1 Videos In Sequence Video versions oF all 9 tracks on disc 1 available in stereo or Dolby surround as well as two different commentary tracks with 1 viewing option. Audio stream 1 cataloged as Videos In Sequence Audio stream 2 cataloged as Videos In Sequence (Dolby Surround Mix) Audio stream 3 cataloged as Videos In Sequence (Band Commentary) Audio stream 4 cataloged as Videos In Sequence (Director’s Commentary) 4 diFFerent Audio Streams have been Cataloged For this track. BeFore proceeding to Videos with supplements it should be noted that Dolby 5.1 is oFFered only For videos in sequence, NOT available For Videos with supplements. As a result, only audio From the videos in sequence will have tracks ultimately listed as “(Dolby Surround Mix)”. It should also be noted that for the sake of completeness, each individual track of the Videos With Supplements folder will include an audio stream For every angle available in the event that the audio was altered to sync to the available video. It is counterintuitive to think that the audio would have been altered rather than the video, but in pursuit of a deFinitive answer, as well as For the sake of completeness, each audio stream associated with each angle will be recorded and cataloged For comparison. Videos With Supplements Intergalactic This video is supplemented with 6 diFFerent Audio Tracks with 9 diFFerent viewing options, and 4 additional Audio Tracks with only 1 viewing option. -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System
UCLA UCLA Entertainment Law Review Title "You Can't Sing without the Bling": The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System Permalink https://escholarship.org/uc/item/96d414rm Journal UCLA Entertainment Law Review, 11(1) ISSN 1073-2896 Author Norek, Josh Publication Date 2004 DOI 10.5070/LR8111027056 Peer reviewed eScholarship.org Powered by the California Digital Library University of California "You Can't Sing without the Bling": The Toll of Excessive Sample License Fees on Creativity in Hip-Hop Music and the Need for a Compulsory Sound Recording Sample License System Josh Norek* TABLE OF CONTENTS I. INTRODUCTION ........................................... 84 II. HISTORICAL OVERVIEW OF SAMPLING ................... 86 III. THE PRESENT SAMPLE CLEARANCE PRACTICE ........... 89 IV. PROBLEMS WITH THE CURRENT SYSTEM OF NEGOTIATED SAMPLE CLEARANCES: TIME & FINANCIAL COST ........ 90 V. THE FOUR PRIMARY CATEGORIES OF SAMPLES ......... 91 A. Qualitatively Insignificant Sample .................... 92 B. Qualitatively Significant Sample of Three Seconds or Less Used Only Once ................................ 92 C. Qualitatively Significant Sample of Three Seconds or Less That Is Looped and Occurs Repeatedly ......... 93 D. Qualitatively Significant Sample Greater Than Three Seconds .............................................. 93 VI. A SUGGESTED NEW LICENSING SCHEME FOR SOUND RE- CORDING SAMPLE CLEARANCES ......................... 93 VII. ARGUMENTS FOR -
October 1994
Features AARON COMESS Album number two sees Spin Doctors drummer Aaron Comess laying down that slippery funky thing yet again. Not that Aaron has cut down on his extracurricular jazz work. Does this guy ever stop? • Teri Saccone 20 BOB MOSES The eccentric but unarguably gifted drummer who powered the first jazz-rock band is still breaking barriers. With a brand- new album and ever-probing style, Bob Moses explains why his "Simul-Circular Loopology" might be too dangerous in live doses. • Ken Micallef 26 HIGHLIGHTS OF MD's FESTIVAL WEEKEND '94 Where should we start? Simon Phillips? Perhaps "J.R." Robinson? Say, Rod Morgenstein? How about Marvin "Smitty" Smith...or David Garibaldi...maybe Chad Smith, Clayton Cameron, or Matt Sorum.... Two days, one stage, a couple thousand drummers, mega-prizes: No matter how you slice it, it's the mother of all drum shows, and we've got the photos to prove it! 30 Volume 18, Number 9 Cover Photo By Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 52 DRUM SOLOIST 8 UPDATE Max Roach: Bill Bruford, "Blues For Big Sid" David Garibaldi, TRANSCRIBED BY Dave Mancini, CRAIG SCOTT and Ray Farrugia of Junkhouse, plus News 76 HEALTH & SCIENCE 119 INDUSTRY Focal Dystonia: HAPPENINGS A Personal Experience BY CHARLIE PERRY WITH JACK MAKER DEPARTMENTS 42 PRODUCT CLOSE-UP 80 JAZZ 4 EDITOR'S Tama Iron Cobra DRUMMERS' OVERVIEW Bass Drum Pedals WORKSHOP BY ADAM BUDOFSKY Expanding The 6 READERS' 43 Tama Tension Watch Learning Process PLATFORM Drum Tuner BY JOHN RILEY BY ADAM BUDOFSKY 12 ASK A PRO 84 Rock 'N' 44 Vic Firth Ed Shaughnessy, American Concept Sticks JAZZ CLINIC Stephen Perkins, and BY WILLIAM F. -
Ill Communication: Race, Gender, & Sexuality in Hip
Ill Communication: Race, Gender, & Sexuality in Hip Hop Discourse Communication Studies Syllabus – Summer 2012 Instructor: Jackie Arcy Course Description This course will provide a comprehensive overview of contemporary cultural critiques of race, gender, and sexuality by hip hop scholars and activists. We will consider the use of hip-hop as a form of cultural and political activism that forces Americans to confront key social justice issues including: sexual and gender violence, homophobia, and destructive representations of black and brown masculinity and femininity in U.S. popular culture. We will explore how hip hop discourse reiterates, challenges, and critiques dominant social structures. Specifically, this course will investigate representations of social inequalities related to race, gender, and sexuality in hip hop. We will be concerned with the process of cultural critique. How is hip hop framed in popular culture? How does hip hop challenge social inequalities? How does hip hop reinforce dominant social structures? To pursue these questions, each student will work in groups responsible for creating their own critique in the hip hop remix project. The project should be conceived to interrogate the readings and viewings; to raise questions and issues around the material and its presentation; and to critique the relationship of hip hop in popular culture Course Goals • To explore theoretical and popular debates about hip hop music’s impact on race, gender, and sexuality. • To engage the larger social, economic and political histories that produce hip hop and its impact on popular culture. • To explore how race, gender, and sexuality shape popular culture and impact our perspectives. • To demonstrate critical thinking skills and utilize theoretical frameworks in Communication Studies. -
Strictly Jungsworld
# 1998/30 dschungel https://jungle.world/artikel/1998/30/strictly-jungsworld Strictly Jungsworld Von harald peters Die Beastie Boys veröffentlichen schon wieder ein neues Album. Wie immer hat sich nichts geändert Irgendwann muß es ja mal raus: Die Beastie Boys können nicht rappen. Im zwölften Jahr nach "Licensed To Ill" gröl-reimen sie noch immer wie ehedem. Einer gibt die Zeile vor, ein zweiter steigt ein, zu dritt komplettiert man dann den Vers. Wie damals, als sie mit "Fight For Your Right" ihren ersten Hit hatten. In jede Kamera, die ihnen über den Weg lief, hielten sie Dosen ihres Lieblingsbieres, um sich das Budweiser anschließend erst über und dann in den Kopf zu gießen. Selbstredend hackevoll torkelten und rüpelten sich die Anfangzwanziger über die Bühnen dieser Welt, die sie mit viel Gespür für Hau-Drauf- Ästhetik zuvor mit Käfigen ausstaffiert hatten, in denen halbnackte Frauen tanzten, während in der Bühnenmitte ein riesiger Hydraulik-Pimmel Bier oder was auch immer in die Menge pumpte. Jahre später dann: Hipsterkönige, von vielen geliebt. Wie das kommt, ist leicht zu erklären. Du bist ein Junge aus gutem Hause, findest dein Leben langweilig, schwänzt dosiert den Unterricht und rauchst auf dem Schulhof Zigaretten ohne Filter. Dann hörst du diesen Song: "Fight For Your Right to Party". Im dazugehörigen Video siehst du, wie die Beastie Boys - so heißt die Band, ganz neu, kennt kein Schwein - eine Spießer-Party aufmischen. Voll kraß. Dann kommen die Eltern nach Hause. Na, das gibt Ärger. So eine Party hättest du auch gern. Solche Partys gibt es bei dir aber nicht. -
Glen E. Friedman
Glen e. FInterviewriedman and portrait by Joey GarfIeld 76 Glen e. Friedman Glen e. Friedman is a Great photoGrapher. he is, in a sense, way too proFessional, but i have actually seen him lauGh beFore, and we’ve made him cry on occasion. durinG CheCk Your head, yauch was livinG in a loG cabin in the LA hills. Glen had taken a picture oF minor threat on their Front porch, and yauch ripped that out oF a maGazine and had it on his wall. he loved the way that picture looked. yauch told Glen, “we want a picture that’s as cool as this minor threat one.” so that’s the one. i’m sure Glen hated that it was a Fax... —adroCk Joey Garfield: Let’s start with a brief background. a pocket instamatic at the time. I studied lenses and Oe n how to make prints and develop. I learned the basics, Photographer for Glen E. Friedman: I grew up here on the East Coast but my grade was a D. Although I wasn’t following Check Your Head and and moved to California in second grade, but was back the assignments, I was taking pictures of my friends several decades of here for school vacations and summers because my skateboarding. The mecca of skateboarding at the Beastie Boy images dad was here. I came here for school for 11th and 12th time was at Paul Revere Junior High. grades. I would go to LA for the summers and school TWO Shot generation-defining vacations. I went out there for college but then moved I found this pool that no one ever skated before. -
Hip-Hop Realness and the White Performer Mickey Hess
Critical Studies in Media Communication Vol. 22, No. 5, December 2005, pp. 372Á/389 Hip-hop Realness and the White Performer Mickey Hess Hip-hop’s imperatives of authenticity are tied to its representations of African-American identity, and white rap artists negotiate their place within hip-hop culture by responding to this African-American model of the authentic. This article examines the strategies used by white artists such as Vanilla Ice, Eminem, and the Beastie Boys to establish their hip- hop legitimacy and to confront rap music’s representations of whites as socially privileged and therefore not credible within a music form where credibility is often negotiated through an artist’s experiences of social struggle. The authenticating strategies of white artists involve cultural immersion, imitation, and inversion of the rags-to-riches success stories of black rap stars. Keywords: Hip-hop; Rap; Whiteness; Racial Identity; Authenticity; Eminem Although hip-hop music has become a global force, fans and artists continue to frame hip-hop as part of African-American culture. In his discussion of Canadian, Dutch, and French rap Adam Krims (2000) noted the prevailing image of African-American hip-hop as ‘‘real’’ hip-hop.1 African-American artists often extend this image of the authentic to frame hip-hop as a black expressive culture facing appropriation by a white-controlled record industry. This concept of whiteÁ/black interaction has led white artists either to imitate the rags-to-riches narratives of black artists, as Vanilla Ice did in the fabricated biography he released to the press in 1990, or to invert these narratives, as Eminem does to frame his whiteness as part of his struggle to succeed as a hip-hop artist. -
UBIQUITY RECORDS PRESENTS Super Limited Edition 7 X 7” Box Set
UBIQUITY RECORDS PRESENTS FOR INFORMATION AND SOUNDCLIPS OF OUR TITLES, GO TO WWW.UBIQUITYRECORDS.COM/PRESS STREET DATE: 11/09/2010 20 Years ago the Groove Merchant record store opened its look for soul jazz, musical obscurities, and break beats, and the Groove Merchant even earned a toast on the Beastie Boys song doors on Haight Street in San Francisco. The rare funk, soul "Professor Booty", "This one goes out to my man the Groove and jazz emporium became a mecca for collectors, DJs, music Merchant, comin' through with the beats that I've been searchin'," rapped Mike D. on 1992's Check Your Head album. With a few fans and producers. dollars and little knowledge of the record business, the Luv N' It was also the birthplace for the and Haight record label (named after the Sly and The Family Stone Luv N'Haight Ubiquity song) was launched from within the store. In 1993 the company Record labels. incorporated as Ubiquity Recordings releasing an instant To celebrate this anniversary, Groove Merchant Record store hit-record from a then unknown DJ called Greyboy. owner Chris Veltri is collaborating with Luv N’Haight and has Long live the Groove Merchant! compiled a tasty selection of 14 musical treats that range from 1.The McCrary Emerge 2. Ron Forella Crystals soulful disco to dusty funky folk, and beyond. The forthcoming 3. Twilight Straight To My Heart full-length album will be packaged for release on CD, and 4. Numonics You Lied 5. Jodesha and Star Ride The Answer super limited edition 7 x 7” box set with an exclusive poster 6.