2011 MXL Catalog
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Episode 061: Jonathan 'Sugarfoot' Moffett Special If Using
The MJCast - Episode 061: Jonathan ‘Sugarfoot’ Moffett Special If using any of the below text, please reference The MJCast and display the following podcast URL. Thank-you. http://www.themjcast.com/episode-061-jonathan-sugarfoot-moffett-special/ The MJCast (Q): Hello, and welcome to the MJCast! I am Q, one of your hosts for today, and today we're interviewing one of Michael's most long-standing collaborators—potentially his most long-standing. The MJCast (Jamon): Jonathan 'Sugarfoot' Moffett worked with Michael Jackson and the Jacksons as their tour drummer starting in 1979 with the "Destiny Tour", and continued to work with them later for the "Triumph Tour", the "Victory Tour", Michael's 1988 Grammy Awards performance, the "HIStory World Tour", his "30th Anniversary" shows, and, eventually, "This is It". MJCast (Q): Not only did Jonathan Sugarfoot have the honor of collaborating closely with the Jacksons, but he has also toured with artists such as Madonna, George Michael, Prince, Elton John, and Lionel Richie. MJCast (Jamon): Jonathan, it's an honor to have you here on the MJCast how're you going? Jonathan Moffett: I'm doing pretty good—I've been doing pretty good. A little mistake in there—I'd never toured with Prince. I've worked in a studio [where] Madonna and Prince [were] on the same song "Keep it Together", so I've never toured. I don't want misinformation to get out there, so I've never toured with Prince, although he has asked me about touring with him, which never just came about because he was at a lot of the after parties at the Jackson shows, Elton shows, and cameo shows, and he'd speak to me and give me a combination of performance and he asked me about playing with him, but it just never happened. -
September 1984
MODERN DRUMMER VOL.8, NO. 9 Cover Photo by Rick Malkin CONTENTS FEATURES ART BLAKEY After paying his dues with such greats as Fletcher Henderson, Dizzy Gillepsie and Thelonious Monk, Art Blakey went on to lead the legendary Jazz Messengers. Here, he traces his career from its inception in Pittsburgh clubs to the present, and discusses the inspiration and training he received from Chick Webb and Sid Catlett. by Chip Stern 8 CARMINE APPICE To remain at the hub of the music industry for nearly 20 years takes talent, perseverance, and versatility. In addition to drumming for such major acts as Vanilla Fudge, Rod Stewart, Ted Nugent and Ozzy Osbourne, Carmine Appice has been active as a clinician, educator and songwriter. He openly discusses his career and offers candid insights about the industry. by Robert Santelli 14 ARTHUR PRESS Drawing from his experiences as percussionist and assistant timpanist with the Boston Symphony, Arthur Press shares his thoughts about interpreting orchestral parts, adjusting to different conductors, and maintaining professionalism. He also gives advice about concert snare drums, and discusses his MMO recording, Classical Percussion. by Rick Mattingly 18 INSIDE YAMAHA 22 by Charles M. Bernstein and William F. Miller JONATHAN MOFFETT Have Drums—Will Travel 26 by Robyn Flans COLUMNS THE JOBBING DRUMMER EDUCATION JUST DRUMS 114 Avoiding Overplaying 88 PROFILES CONCEPTS by Tim Price Drumming And Prejudice JAZZ DRUMMERS WORKSHOP PORTRAITS by Roy Burns 30 Jazz Patterns In 5/4 Bobby Daniels 94 by Robyn Flans 34 THE MUSICAL -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
United States District Court Northern District of New York
Case 5:08-cv-00699-NPM-GHL Document 14 Filed 01/21/09 Page 1 of 5 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF NEW YORK UMG Recordings, Inc., Atlantic Recording Corporation, SONY BMG Music Entertainment, Elektra Entertainment Group, Inc., and BMG Music, Plaintiffs, -v.- 5:08-CV-00699 (NPM/GHL) Ayisha Crockrell, Defendant. APPEARANCES: OF COUNSEL: FOR THE PLAINTIFF: Leclair Korona Giordano Cole LLP Steven E. Cole 150 State Street, Suite 300 Rochester, NY 14614-1353 FOR THE DEFENDANT Ayisha Crockrell No appearance Neal P. McCurn, Senior District Judge Summary Order The plaintiffs in this copyright infringement action, UMG Recordings, Inc., Atlantic Recording Corporation, SONY BMG Music Entertainment, Elektra Entertainment Group, Inc., and BMG Music (“Plaintiffs”), seek a default judgment Case 5:08-cv-00699-NPM-GHL Document 14 Filed 01/21/09 Page 2 of 5 against defendant, Ayisha Crockrell (“Defendant”), for violations of their exclusive rights in copyrighted materials. See 17 U.S.C. § 501 (2002). This action was commenced by the filing of a complaint and the issuance of a summons on July 1, 2008. On July 15, 2008, a copy of said summons and complaint were properly served upon Defendant pursuant to Fed. R. Civ. P. 4(e)(2)(B), proof of which service was filed with this court on August 5, 2008. See Dkt. No. 6. Defendant has failed to appear, answer or otherwise move with respect to the complaint and Defendant’s time to appear, answer or otherwise move has expired. Consequently, at Plaintiffs’ request, Defendant’s default was entered by the Clerk of the Court on August 21, 2008. -
The United Eras of Hip-Hop (1984-2008)
qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer The United Eras of Hip-Hop tyuiopasdfghjklzxcvbnmqwertyuiopas Examining the perception of hip-hop over the last quarter century dfghjklzxcvbnmqwertyuiopasdfghjklzx 5/1/2009 cvbnmqwertyuiopasdfghjklzxcvbnmqLawrence Murray wertyuiopasdfghjklzxc vbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqw The United Eras of Hip-Hop ACKNOWLEDGMENTS There are so many people I need to acknowledge. Dr. Kelton Edmonds was my advisor for this project and I appreciate him helping me to study hip- hop. Dr. Susan Jasko was my advisor at California University of Pennsylvania since 2005 and encouraged me to stay in the Honors Program. Dr. Drew McGukin had the initiative to bring me to the Honors Program in the first place. I wanted to acknowledge everybody in the Honors Department (Dr. Ed Chute, Dr. Erin Mountz, Mrs. Kim Orslene, and Dr. Don Lawson). Doing a Red Hot Chili Peppers project in 2008 for Mr. Max Gonano was also very important. I would be remiss if I left out the encouragement of my family and my friends, who kept assuring me things would work out when I was never certain. Hip-Hop: 2009 Page 1 The United Eras of Hip-Hop TABLE OF CONTENTS ACKNOWLEDGMENTS -
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. -
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. -
Songs by Artist
Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co. -
//1/P0rcf/11Fa
$2.50 April 1979 Volume 10 - Number 2 C ONCFA SOUNO ;//1/P0RCF/11FA/ -1 o `. 4 -- STUDIO DESIGN Rudi Breuer - 45 Michael Rettinger - 62 Kent Duncan - 68 Rich Houston - 80 RELATING ftfCORDING SCIENCE TO RECORDING ART TO RECORDING EQUIPMENT www.americanradiohistory.com versatile.. is the word for Everything Audio. We have a wide range of clientele because we satisfy a wide range of needs. From the most elaborate studio design and installation to the smallest equipment need, we are ready to serve you. Pictured at left is one of our installations, Spectrum Recording Studios in Venice, California. Our involvement in this project was limited to that of design -to maximize their avail- able funds, the owners had their own builders handle construction. Pictured at right is Compact Video Systems in Burbank, California, an advanced audio /video facility utilizing computer assistance in the post production audio room. It is one of our newest and most elaborate installations. We designed this facility in an existing structure, supplied the audio equipment, and assisted their crew during construction, clarifying and modifying the plans as the work progressed. The combined effort of the Compact Video crew and the Everything supplied the plans in metric measure- Audio staff result- ments and, through local representa- ed in an installa- tion, kept involved in the project tion that is inno- until its completion. In all of our pro- vative in its tech- jects- anywhere in the world -the nology as well as home office keeps abreast of every- its finish and thing with on -site inspections. materials. -
Ziwei Zou, SE Electronics
Resolution 3.8 Nov/Dec 2004 15/11/04 10:34 PM Page 56 meet your maker Understanding the genesis of SE Electronics also requires an understanding of the history of mic manufacture in the region. Close ties between East Germany and China imparted essential technology and knowledge on how to build condenser mics for its domestic market, and it wasn’t until after the end of the Cultural Revolution that the market was finally opened up to buying foreign produce. At this point the Government radio and TV stations opted to buy Western microphones and this impacted severely on domestic manufacturing. While the enormous karaoke market in the region created a requirement for dynamic mics, condenser production was gradually wound down over the years. It was the prospect of condenser OEM production for the West that eventually emerged in the mid-1990s as something of a saviour, but as competition in the OEM market overseas increased, the driving force increasingly became lower cost with the massive surplus in capacity in China. What makes Siwei, and SE Electronics, different is that he understood the importance of establishing a brand from the onset — OEM didn’t stimulate him from a creative standpoint and it didn’t make business sense either. He believed then as he still does now that innovation and quality are the goals to hang a brand on and that copying, rebadging and OEM are not long- term propositions. While he acknowledges that other Chinese operations also wished the same, significantly he had the set of skills that allowed him to realise it — he speaks English, he is a US citizen, he had experience in international trade and he has superb music credentials. -
Fly - Swag Surfin Free Mp3 Download Swag Surfing Mp3
fly - swag surfin free mp3 download Swag Surfing Mp3. We have collected a lot of useful information about Swag Surfing Mp3 . The links below you will find everything there is to know about Swag Surfing Mp3 on the Internet. Also on our site you will find a lot of other information about kitesurfing, wakeboarding, SUP and the like. Swag Surfin' (Explicit) - YouTube. https://www.youtube.com/watch?v=kf5QZ-WUGKo Jul 29, 2018 · Provided to YouTube by Universal Music Group Swag Surfin' (Explicit) · F.L.Y. (Fast Life Yungstaz) Jamboree ℗ 2009 The Island Def Jam Music Group Released on: 2009-01-01 Producer: Kevin "KE on . Author: FLYISDALIMIT. FLY – Swag Surfin Free Mp3 Download & Listen Online MP3GOO. https://imp3goo.co/download/fly-swag-surfin/ Free Download FLY – Swag Surfin Mp3. We have 20 mp3 files ready to listen and download. To start the download you need to click on the [Download] button. We recommend the first song named FLY - Swag Surfin HQ.mp3 with a quality of 320 kbps. F.L.Y. - Swag Surfin' [Prod. By K.E. On The Track] mp3 . https://www.livemixtapes.com/download/mp3/202862/fly_swag_surfin_prod_by_ke_on_the_track.html F.L.Y. Swag Surfin' [Prod. By K.E. On The Track] free mp3 download and stream. Swag Surfin - Wikipedia. https://en.wikipedia.org/wiki/Swag_Surfin "Swag Surfin" is the debut single by American hip hop group Fast Life Yungstaz. It is featured on their debut album Jamboree and is produced by K.E. on the Track.. It is the unofficial anthem of the WNBA's Washington Mystics and was played at the game in which the team won its first championship.Genre: Trap, pop rap. -
Madonna Ciao Italia: Live from Italy Mp3, Flac, Wma
Madonna Ciao Italia: Live From Italy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: Ciao Italia: Live From Italy Country: France Released: 1988 Style: Pop Rock, Synth-pop MP3 version RAR size: 1679 mb FLAC version RAR size: 1254 mb WMA version RAR size: 1457 mb Rating: 4.2 Votes: 616 Other Formats: MP1 ASF AUD DXD VOC APE MMF Tracklist 1 Open Your Heart 2 Lucky Star 3 True Blue 4 Papa Don't Preach 5 White Heat 6 Causing A Commotion 7 The Look Of Love 8 Medley (Dress You Up / Material Girl / Like A Virgin) 9 Where's The Party 10 Live To Tell 11 Into The Groove 12 La Isla Bonita 13 Who's That Girl 14 Holiday Companies, etc. Filmed At – Stadio Comunale Vittorio Pozzo - Torino Filmed At – Stadio Comunale Artemio Franchi - Firenze Filmed At – Korakuen Stadium Distributed By – WEA Music Credits Art Direction, Design – Jeri Heiden, Maura P. McLaughlin Backing Vocals – Debra Parson, Donna de Lory, Niki Harris* Bass – Kerry Hatch Choreography – Shabba Doo* Directed By [Musical Director] – Pat Leonard* Drums – Jonathan Moffett Edited By – Mitchell Sinoway Executive Producer [Id Tv] – Harry De Vinter Film Director [Id Tv Amsterdam] – Egbert Van Hess Guitar – David Williams , James Harrah Keyboards – Jai Winding, Pat. Leonard* Percussion – Luis Conte Performer [Dancer] – Angel Ferreira, Chris Finch , Shabba Doo* Photography – Herb Ritts Producer [For Rai Radiotelevisone Italiana] – Riccardo Mario Corato Network* Producer [Live Recording Produced By] – Cinevideogroep, ID TV Amsterdam Remix [Remixed By] – Brian Malouf,