DOCSLIB.ORG

Free Sweatpants Blockhead Download Free Sweatpants Blockhead Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Free Sweatpants Blockhead Download Free Sweatpants Blockhead Download free sweatpants blockhead download Free sweatpants blockhead download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67dfb6ca6b0615fc • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Blockhead – Free Sweatpants (2019) [ FLAC ] There is the Blockhead that has been a fixture of the electronic music scene for more than since his 2004 Ninja Tune debut Music By Cavelight; putting out a string of critically acclaimed albums and touring with everyone from Diplo to Amon Tobin and Kid Koala. Then there is the rap producer Blockhead, whose collaborations with Aesop Rock-Labor Days, None Shall Pass – are part of indie hip-hop canon. The veteran who collaborated with luminaries like Cage, Illogic and Blueprint but also made memorable records with then little-known artists like Despot and billy woods early in their careers. Free Sweatpants is the first time the two Blockhead’s connect, in what is really the most appropriate form. A mixtape-esque album that pairs his narrative-driven solo aesthetic with a team of rappers that thrive in Blockhead’s layered, melodic sound. Aesop Rock, Tree, Breezly Brewin, Open Mike Eagle, Homeboy Sandman, Armand Hammer, Vic Spencer, Hemlock Ernst, MarQ Spekt, and billy woods round out the guest list. “It’s really something I have been wanting to do since way back in 2002 but then other things picked up and I just never got around to it” Blockhead explains, “but I felt like this was a good time for it. These are artists I actively listen to, so it was exciting to make just based on that.” Free sweatpants blockhead download. Artist: Blockhead Album: Free Sweatpants Released: 2019 Style: Hip Hop. Format: MP3 320Kbps. Tracklist: 01 – Dream On 02 – Slippery Slope (feat. Billy Woods, Open Mike Eagle, Breezly Brewin) 03 – Kiss the Cook (feat. Aesop Rock) 04 – Rock’em Sock’em Hop 05 – Frank (feat. Tree) 06 – Weeping Willow 07 – Deeperstill (feat. Homeboy Sandman) 08 – By Myself Meeting 09 – Be Safe (feat. Armand Hammer) 10 – Favorite Chair (feat. Vic Spencer) 11 – Tinder in the Time of Cholera 12 – Let Them Eat Hate (feat. MarQ Spekt) 13 – Blue Veil (feat. Hemlock Ernst) 14 – Make America Gape Again. DOWNLOAD LINKS: RAPIDGATOR: DOWNLOAD TURBOBIT: DOWNLOAD. Blockhead Drops "Free Sweatpants" Album With Aesop Rock, Open Mike Eagle & More. Veteran Hip Hop producer Blockhead has released his new Free Sweatpants album. Boasting 14 tracks, the project features guest spots from Aesop Rock (“Kiss The Cook”), Homeboy Sandman, Open Mike Eagle and Vic Spencer, among others, allowing for a healthy mixture of solely instrumental songs and MC-infused cuts. As far as the title goes, the New York City native had a simple explanation. “I thought it was a funny title and it’s kinda went along with the mixtape vibe of the project,” Blockhead tells HipHopDX. “Also, I’m just a huge fan of sweatpants.” Free Sweatpants follows his last solo effort Funeral Balloons, which was released in September 2017. Check out the Free Sweatpants album, cover art and tracklist below. Blockhead Free Sweatpants. Despite Blockhead’s glittering timesheet as an instrumental hip-hop extraordinaire – being partly responsible for the launch of Aesop Rock and boasting a place on Ninja Tune – he’s sounding rather lacklustre on new LP, Free Sweatpants. While each instrumental component is expertly sampled and polished – the percussion is the most organic I’ve heard on a sample-based project in a while – the whole jam comes together tasting rather sour. Most of Free Sweatpants seems to follow a messy formula of interchanging piano plinks, guitars, saxophones and pipes that never seem to feel wanted, disappearing into the blue as quickly as they came. Rather than blend and progress together seamlessly, each layer rarely gets the space it needs to make any significant impact; something Blockhead rarely gets wrong. The exception being closer “Make America Gape Again” which is allowed a more fluid build-up thanks to its comparably extended runtime. Furthermore, the vocal samples are utterly uninteresting, and even if they were, the instrumentals ensure they are frequently drowned out. I can’t help but worry if a dog was strangled during the recording of “By Myself Meeting” either. When Free Sweatpants isn’t engaging in its sample scat in order to make way for its gilded rollcall of guest rapmen, it drops flat drabbery that couldn’t moan its way onto a YouTube study beat playlist. As much as the guests try to instil some life and identity into proceedings, they are hindered by beats that are completely blunted in terms of originality. The one exception being Homeboy Sandman-assisted “Weeping Well” with its bleeping horns and moody bass guitar riffing. The performances are solid though: pen-pal Aesop Rock sounds particularly dizzying on “Kiss the Cook” while “soul-trap” aficionado Tree comes through with an intriguingly weird and amusing hood tale about “Frank”. Billy Woods is man of the match however with his customary declarative delivery and mind-splitting bars dominating the tracks he features; his peculiar decree of “I invented being black” on “Slippery Slope” is sure to turn a few heads. However, this is meant to be a Blockhead exhibit, and without much substance to show there isn’t much to enjoy. From a producer we’re so used to seeing effortlessly string together samples into masterpieces (check “None Shall Pass”), it’s disappointing that Free Sweatpants feels nothing more than a hard-drive clearout of samples that sound relieved just to have avoided the recycling bin. trending hip-hop albums King's Disease II. Album Rating: 2.0. Been a year since I tried reviewing. Just wanted to try something small to get into the swing of things again. Album Rating: 4.5. this album is amazing from start to finish. Blockhead is one of my favorite producers of all-time. Album Rating: 2.0. Yeah dont get me wrong, Blockhead is a fantastic producer. Cannot forget the amazing job he did with Aesop rock before. None shall pass is my face beat by him. But I dunno, nothing at all jumped out of this album for me. Just felt very polished but ordinary..
Load more

Recommended publications
  • An Autoethnography of Scottish Hip-Hop: Identity, Locality, Outsiderdom and Social Commentary
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier An autoethnography of Scottish hip-hop: identity, locality, outsiderdom and social commentary Dave Hook A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy June 2018 Declaration This critical appraisal is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated in the text. It has not been previously submitted, in part or whole, to any university or institution for any degree, diploma, or other qualification. Signed:_________________________________________________________ Date:______5th June 2018 ________________________________________ Dave Hook BA PGCert FHEA Edinburgh i Abstract The published works that form the basis of this PhD are a selection of hip-hop songs written over a period of six years between 2010 and 2015. The lyrics for these pieces are all written by the author and performed with hip-hop group Stanley Odd. The songs have been recorded and commercially released by a number of independent record labels (Circular Records, Handsome Tramp Records and A Modern Way Recordings) with worldwide digital distribution licensed to Fine Tunes, and physical sales through Proper Music Distribution. Considering the poetics of Scottish hip-hop, the accompanying critical reflection is an autoethnographic study, focused on rap lyricism, identity and performance. The significance of the writing lies in how the pieces collectively explore notions of identity, ‘outsiderdom’, politics and society in a Scottish context. Further to this, the pieces are noteworthy in their interpretation of US hip-hop frameworks and structures, adapted and reworked through Scottish culture, dialect and perspective.
    [Show full text]
  • Hip-Hop's Diversity and Misperceptions
    The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
    [Show full text]
  • Bumbershoot Aesop Rock Niki&The Dove 11.09.12
    11.09.12 page page page 6 bumbershoot 8 Aesop rock 10 niki&the dove cover art by lindsay stribling 2 in cue 11.09.12 college radio is the specialization and niche programming that it meet our about delivers to a broad audience. This blew my mind because it was so staff Top 5 Albums ever in cue profoundly accurate. YES! This is Welcome to In Cue, why radio matters. your campus radio College radio o#ers the cur- 1) Neutral Milk Hotel “Aeroplane over the Sea” station’s written con- rency that we all crave as well as nection to the masses. the education that accompanies 2) Wilco “Yankee Hotel Foxtrot” - a person telling you, “Hey, I chose 3) Elliot Smith “A basement on a Hill” views, articles, and these songs for you, I vouch for 4) T Rex “Electric Warrior” updates on what KUOI them. They are good.” If you be- FM has been up to this lieve, as I always have, that KUOI 5) Radiohead “The Bends” hosts some of the coolest kids on Nae Hakala year. We are here to STATION MANGER answer the question: campus, then you can have faith in what they are sharing with “Why does radio you. Sure, I initially tuned in for indie-rock and punk, but I stayed 1) Death Cab for Cutie “Transatlanticism” even matter, for garage and psych. Who knew 2) Death From Above 1979 “You’re a Women I’m a Machine” anymore?” these genres were still thriving? A 3) Animal Collective “Strawberry Jam” KUOI DJ knew, and he shared it with me.
    [Show full text]
  • Literatura Y Otras Artes: Hip Hop, Eminem and His Multiple Identities »
    TRABAJO DE FIN DE GRADO « Literatura y otras artes: Hip Hop, Eminem and his multiple identities » Autor: Juan Muñoz De Palacio Tutor: Rafael Vélez Núñez GRADO EN ESTUDIOS INGLESES Curso Académico 2014-2015 Fecha de presentación 9/09/2015 FACULTAD DE FILOSOFÍA Y LETRAS UNIVERSIDAD DE CÁDIZ INDEX INDEX ................................................................................................................................ 3 SUMMARIES AND KEY WORDS ........................................................................................... 4 INTRODUCTION ................................................................................................................. 5 1. HIP HOP ................................................................................................................... 8 1.1. THE 4 ELEMENTS ................................................................................................................ 8 1.2. HISTORICAL BACKGROUND ................................................................................................. 10 1.3. WORLDWIDE RAP ............................................................................................................. 21 2. EMINEM ................................................................................................................. 25 2.1. BIOGRAPHICAL KEY FEATURES ............................................................................................. 25 2.2 RACE AND GENDER CONFLICTS ...........................................................................................
    [Show full text]
  • Eminem 1 Eminem
    Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
    [Show full text]
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
    [Show full text]
  • Kodak Black Release Date
    Kodak Black Release Date Ferrety and lythraceous Ludvig reinvolving while glummer Waverly fuddles her pollards hellish and poniards prosily. Peyter ideates trichotomously while mycological Helmuth pedestrianises qualifiedly or snows anomalously. Is Broddie conscience-smitten or hempy when budging some paenulas chases sulkily? If valid credit card does not stop you for Kodak Black announces that all new album Dying To large will suffice on December 14th This month and also be packed with rose Hip. Black who complained often run his alleged prison abuse may even sued over how terrible conditions wasn't scheduled to be released from his Kentucky prison until October 2022. Unless for's some issue had'm not aware of group should be released. Kodak Black paper just released from prison last seen but already's taken a page sample of. Clements also told Courthouse News on he hopes to have Kodak transported to South Carolina after spring is released from federal prison report date. Cohen said to date and dark man who claims that focus on account hit a release date or redistributed. Trump pardons Lil Wayne Kodak Black Chicago Tribune. Kodak Black 5 Fast Facts You Need who Know Heavycom. Earlier this month Lil Yachty tweeted at Trump calling for Kapri to be released. Are trademarks of. Kodak was being intelligent in a Broward County side but was released early Saturday morning are being locked up for 7 months for since two probation violations Initially. For Kodak Black label release read President Trump granted a. Kodak was released Monday morning from Broward County now after serving 97 days of a 364 day have for violating house arrest.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • June-Oct 2021
    JUNE-OCT FREE & BENEFIT 2021 PERFORMANCES SUMMERSTAGE.ORG SUMMERSTAGE NYCSUMMERSTAGE SUMMERSTAGENYC SUMMERSTAGE IS BACK More than a year after the first lockdown order, SummerStage is back, ready to once again use our city’s parks as gathering spaces to bring diverse and thriving communities together to find common ground through world-class arts and culture. We are committed to presenting a festival fully representing the city we serve - a roster of diverse artists, focused on gender equity and presenting distinct New York genres. This year, more than ever before, our festival will focus on renewal and resilience, reflective of our city and its continued evolution, featuring artists that are NYC-born, based, or inextricably linked to the city itself. Performers like SummerStage veteran Patti Smith, an icon of the city’s resilient rebelliousness, Brooklyn’s Antibalas, who have married afrobeat with New York City’s Latin soul, and hip hop duo Armand Hammer, two of today’s most important leaders of New York’s rap underground. And, as a perfect symbol of rebirth, Sun Ra’s Arkestra returns to our stage in this year of reopening, 35 years after they performed our very first concert, bringing their ethereal afro-futurist cosmic jazz vibes back to remind us of our ongoing mission and purpose. Our festival art this year also reflects our outlook -- bold, bright, powerful -- and was created by New Yorker Lyne Lucien, an award-winning Haitian artist based in Brooklyn. Lucien is an American Illustration Award Winner and a finalist for the Artbridge - Not a Monolith Residency. She has worked as a photo editor and art director at various publications including New York Magazine, The Daily Beast and Architectural Digest.
    [Show full text]
  • Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption.
    [Show full text]
  • La Coka Nostra Rolling with Grinspoon Pt.Ii Kiva
    WWW.KOTORIMAG.COM MAGAZINE WWW.KOTORIMAG.COM MAGAZINE DEERHOOF • THE LOCUST • AS Tall AS LIONS • CLUTCH • DAVID CHOE • RJD2 • BUFF MONSTER • NORma JEAN • POT TM MUSIC/ART/POLITICS/CULTURE #009 MUSIC/ART/POLITICS/CULTURE LA COKA NOSTRA ROWDINESS, BEllIGERENCE AND AGGRESSION ROllING WITH GRINSPOON PT.II “WE’RE GOING TO GET AN INJECTION OF A WHOLE NEW ENERGY...” KIVA INVESTORS SEEKING EMOTIONal RETURNS LOOK NO FURTHER WE ARE THE FURY CattlE DECapItatION SIERRA SWAN CLEAR CHANNEL - AMERICAN SODOMITES? USA $3.99 CANADA $4.99 ISSUE 9 WWW.KOTORIMAG.COM TABLE OF CONTENTS LA COKA NOSTRA I’m not knocking anyone else’s shit but hip hop is in a flossy KIVA place and I don’t feel like it’s reflecting the world we’re Investors seeking emotional returns…look no further. 40 living in right now!” 33 CLUTCH BUFF MONSTER “One day in the middle of a show I turned around and looked “The mass appeal of urban inspired or urban related art is 23 behind me and there were two 30 foot penises behind us.” 27 growing every day.” POWER PELLETS: Kotori tells you wutz up! 04 DEERHOOF 14 Satomi educates America on why Asians are so salty WE ARE THE FURY: A HEAD COLD COUldn’t TRIP UP ROCK-N-ROLL 06 THE LOCUST ASPHALT JUNGLE: swallows up Bob Marley 10 20 swarmin’ with their one-liners!! FASHIONABLY SKATEBOARDING: SICK ASS DECKS! 16 SIERRA SWAN 50 super-sexy sultry ssssss! HOW TO MAKE YOUR MUSIC VIDEO 18 SANDBLOOM: ONE CRAZY WHITE BOY WITH A LOT OF SOUL 30 AS TALL AS LIONS 08 Singer Dan Nigro hiccups his way through animal cruelty & the glockenspiel METERMAIDS: DOG POO AND DEMO RAP COLLIDE! 54 FASHION ADVENTURES: Kotori conquers fashion!!! 55 RJD2 47 Ramble John Krohn carves an exciting ‘pop’ path down a road he’s always taken..
    [Show full text]
  • Aesop Rock Will Return to the 9:30 Club the Teenage Diva/Divo Storm
    WATERGATE RESIDENT DIES PAGE A3 OK Go TO HEADLINE FALL FEST PAGE B1 ALWAYS ONLINE: Elderly man has heart attack while driving Band is famous for treadmill music video [email protected] PYLE PRODUCES THURSDAY The GW PAGE 7 September 6, 2007 Penalty kick Vol. 104 • Iss. 5 conversion gives Hatchet Colonials 1-0 win AN INDEPENDENT STUDENT NEWSPAPER - SERVING THE GW COMMUNITY SINCE 1904 Soft ware company sues University facebook funds for the fi nal services, claiming the Schario said of Richmar CEO Richard Gor- was not satisfi ed with the DCMS and GW withholds software did not operate properly, the don. “He would like his fi nal payment.” would not pay the fi nal fees of more than lawsuit states. The code – called the Document and $200,000, according to both parties in Mourning Richmar is suing the school on fi ve Case Management System – was developed court documents. payment for code counts, including copyright infringement at a discounted rate because it was a brand- “GW is an 8,000-pound gorilla compared and breach of contract, according to the new technology in higher education, ac- to Richmar,” said Geoffrey Gitner, Rich- development plaintiff’s com- cording to both mar’s attorney. “It apparently thinks it can from a plaint. Federal parties in the thumb its nose at vendors. Unfortunately, by Eric Roper National, a cor- “GW apparently thinks it can thumb lawsuit. Rich- this is the way they like to do business.” Metro News Editor poration that its nose at vendors. Unfortunately this mar developed Richmar developed a system that loaned Richmar similar code for bridges two pieces of software, allow- distance A software development company money, is also is the way they like to do business.” the Federal Avi- ing users within GW’s network to access is suing the University because the school suing the school ation Adminis- documents based on their position at the by Niketa Kumar failed to pay more than $200,000 for an for breach of tration and oth- University, the initial contract states.
    [Show full text]