Otter Realm, February 16, 2000, Vol. 5 No. 10
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(159) [PL5] Sample Some Of
Sample Some Of This, Sample Some Of That (160) [PL6] ✔ INEZ FOXX / Let Me Down Easy [Volt/Stax (LP)] PHFNG / Nie lubię [phfng (LP)] JOHN COLTRANE w/ Duke Ellington / My Little Brown Book [Impulse! (LP)] KAZIK / Na każdy temat [S.P. Records (LP)] JOHN COLTRANE QUARTET / Feelin' Good [UMG (LP)] FISZ / Bla bla bla [Asfalt (LP)] KRZYSZTOF KOMEDA / Niekochana [Power Bros. (LP)] FISZ / Bla bla bla (DJ 600V w autobusie remix) [Asfalt (LP)] DIONNE WARWICK / The Look Of Love [Duchesse (LP)] PEJA - SLUMS ATTACK / WOS [T1-teraz (LP)] BETTYE LAVETTE & HANK BALLARD / Hello, Sunshine [Charly (LP)] LUCJAN & SYMONO f/ Rico / Bądź luksusowy (remix) [Yaneck (LP)] GEORGE BENSON / The Changing World [CTI (LP)] DJ 600V f/ Tede / Świat zwariował w 23 lata (e?!) [RRX (LP)] PHFNG f/ Dwa Sławy / Teściowa (I used to love h.e.r.) (remix) [phfng (LP)] Sample Some Of This, Sample Some Of That (159) [PL5] ✔ VLADIMIR VYSOTSKY / Dom chrustalnyj [Melodija (LP)] KALIBER 44 / Konfrontacje [S.P. Records (LP)] SHARON REDD / Takin' A Chance On Love [Prelude (LP)] DJ 600V f/ Jajo, Grubas, Gano (HaiHaieR) / Nie jestem kurwa biznesmenem [RRX (LP)] JERZY MILIAN TRIO / Rewelacyjny Luciano [Polskie Nagrania (LP)] DJ 600V f/ Jajo, Grubas, Gano (HaiHaieR) / Nie jestem kurwa biznesmenem (remix) [RRX (LP)] NINA SIMONE / Four Women (DJ OBaH's Recycled Funk remix) [Bstrd Boots Nuggets! (7")] FISZ EMADE / Heavi Metal [Asfalt (LP)] BERNARD PURDIE / Lialeh [Light In The Attic (LP)] SINY f/ Roszja / Aleja życia [Blend (LP)] KLEEER / Tonight [Atlantic (LP)] TRZYHA/WARSZAFSKI DESZCZ / Sobota [RRX (LP)] SÈYFU YOHANNÈS / Mèla Mèla [Buda Musique (LP)] POE (PROJEKT OSTRY EMADE) / Nadzieja [Asfalt (LP)] ENNIO MORRICONE / Main Theme ("A Fistful Of Dynamite", O.S.T.) [Decca (LP)] PEJA - SLUMS ATTACK / Mój rap, moja rzeczywistość [T1-teraz (LP)] Sample Some Of This, Sample Some Of That (158) [PL4] ✔ SILNA GRUPA POD WEZWANIEM / Rozprawa o robokach [Polskie Nagrania Muza (LP)] KAZIK / Wewnętrzne sprawy [S.P. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
WXYC Brings You Gems from the Treasure of UNC's Southern
IN/AUDIBLE LETTER FROM THE EDITOR a publication of N/AUDIBLE is the irregular newsletter of WXYC – your favorite Chapel Hill radio WXYC 89.3 FM station that broadcasts 24 hours a day, seven days a week out of the Student Union on the UNC campus. The last time this publication came out in 2002, WXYC was CB 5210 Carolina Union Icelebrating its 25th year of existence as the student-run radio station at the University of Chapel Hill, NC 27599 North Carolina at Chapel Hill. This year we celebrate another big event – our tenth anni- USA versary as the first radio station in the world to simulcast our signal over the Internet. As we celebrate this exciting event and reflect on the ingenuity of a few gifted people who took (919) 962-7768 local radio to the next level and beyond Chapel Hill, we can wonder request line: (919) 962-8989 if the future of radio is no longer in the stereo of our living rooms but on the World Wide Web. http://www.wxyc.org As always, new technology brings change that is both exciting [email protected] and scary. Local radio stations and the dedicated DJs and staffs who operate them are an integral part of vibrant local music communities, like the one we are lucky to have here in the Chapel Hill-Carrboro Staff NICOLE BOGAS area. With the proliferation of music services like XM satellite radio Editor-in-Chief and Live-365 Internet radio servers, it sometimes seems like the future EDITOR-IN-CHIEF: Nicole Bogas of local radio is doomed. -
Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves. -
OTCD 2184 DJ SPINNA Underground Forever CD
1. DJ Spinna - Underground Forever (Intro) 2. Juggaknots - Clear Blue Skies 3. Godfather Don - Properties Of The Steel 4. J-Live - Braggin’ Writes 5. Dutchmin - Get Your Swerve On 6. L The Head Toucha - Too Complex 7. AK Skills - Nights Of Fear 8. The East Flatbush Project - Tried By 12 9. Non Phixon - No Tomorrow 10. Old World Disorder - 3hree6ix5ive feat. Eminem 11. Ugly Duckling - Fresh Mode 12. The Basement Khemist - Vibrate 13. Natural Resource - Negro League Baseball 14. Mike Zoot - High Drama feat. Mos Def 15. Shabaam Sahdeeq - It Could Happen Anytime feat. Shadowz In The Dark 16. Street Smartz - Mental Thangz feat. Pharoah Monch & OC 17. Shadez Of Brooklyn - Survival Warz (When It Rains It Pours) 18. Mr Voodoo - Lyrical Tactics 19. Paula Perry - Paula’s Jam 20. Lace Da Booms=2 0 - Cut That Weak Shit feat. Quasi Modo & Royal Flush 21. Saukrates - Play This (Remix) feat. Common 22. IG Off & Hazadous - This Ain’t Livin’ 23. Jigmastas - Beyond Real 24. Money Boss Players - Players Pinnacle 25. Greg Nice - Set It Off DJ Spinna returns to his roots on Underground Forever, unearthing a classic mix of independently released singles and sleeper favorites from the mid 90s. Before the era of online sharing and instant downloads, mixtapes were the lifeblood of the Hip Hop underground in New York. Names like DJ Premier, DJ Clue, DJ Doo Wop, Kid Capri, Enuff, Cipha Sounds and Tony Touch had their finger on the pulse of the city’s emerging backpack movement, which took the culture back to basics: self-released records, word-of-mouth buzz and musical innovation. -
The Post-Traumatic Futurities of Black Debility
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Koivisto, Mikko (Live!) The Post-traumatic Futurities of Black Debility Published in: DISABILITY STUDIES QUARTERLY DOI: 10.18061/dsq.v39i3.6614 Published: 30/08/2019 Document Version Publisher's PDF, also known as Version of record Please cite the original version: Koivisto, M. (2019). (Live!) The Post-traumatic Futurities of Black Debility. DISABILITY STUDIES QUARTERLY, 39(3). https://doi.org/10.18061/dsq.v39i3.6614 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) (Live!) The Post-traumatic Futurities of Black Debility Mikko O. Koivisto Aalto University School of Arts, Design and Architecture Email: [email protected] Keywords: Pharoahe Monch, debilitation, racism, ableism, sanism, rap music Abstract This article investigates the possibilities of artistic and performative strategies for elucidating forms of systemic violence targeted at racialized and disabled bodies. The analysis focuses on the album PTSD: Post traumatic stress disorder by the New York rapper Pharoahe Monch, delving into the ways in which it explores the intersections of Blackness and disability. The album's lyrics range from a critique of the structural racism in contemporary American society to subjective, embodied experiences of clinical depression, anxiety, and chronic asthma—and their complex entanglement. -
Brand New Cd & Dvd Releases 2006 6,400 Titles
BRAND NEW CD & DVD RELEASES 2006 6,400 TITLES COB RECORDS, PORTHMADOG, GWYNEDD,WALES, U.K. LL49 9NA Tel. 01766 512170: Fax. 01766 513185: www. cobrecords.com // e-mail [email protected] CDs, DVDs Supplied World-Wide At Discount Prices – Exports Tax Free SYMBOLS USED - IMP = Imports. r/m = remastered. + = extra tracks. D/Dble = Double CD. *** = previously listed at a higher price, now reduced Please read this listing in conjunction with our “ CDs AT SPECIAL PRICES” feature as some of the more mainstream titles may be available at cheaper prices in that listing. Please note that all items listed on this 2006 6,400 titles listing are all of U.K. manufacture (apart from Imports which are denoted IM or IMP). Titles listed on our list of SPECIALS are a mix of U.K. and E.C. manufactured product. We will supply you with whichever item for the price/country of manufacture you choose to order. ************************************************************************************************************* (We Thank You For Using Stock Numbers Quoted On Left) 337 AFTER HOURS/G.DULLI ballads for little hyenas X5 11.60 239 ANATA conductor’s departure B5 12.00 327 AFTER THE FIRE a t f 2 B4 11.50 232 ANATHEMA a fine day to exit B4 11.50 ST Price Price 304 AG get dirty radio B5 12.00 272 ANDERSON, IAN collection Double X1 13.70 NO Code £. 215 AGAINST ALL AUTHOR restoration of chaos B5 12.00 347 ANDERSON, JON animatioin X2 12.80 92 ? & THE MYSTERIANS best of P8 8.30 305 AGALAH you already know B5 12.00 274 ANDERSON, JON tour of the universe DVD B7 13.00 -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
"What Is an MC If He Can't Rap?"
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics. -
Audio Mastering for Stereo & Surround
AUDIO MASTERING FOR STEREO & SURROUND 740 BROADWAY SUITE 605 NEW YORK NY 10003 www.thelodge.com t212.353.3895 f212.353.2575 EMILY LAZAR, CHIEF MASTERING ENGINEER EMILY LAZAR CHIEF MASTERING ENGINEER Emily Lazar, Grammy-nominated Chief Mastering Engineer at The Lodge, recognizes the integral role mastering plays in the creative musical process. Combining a decisive old-school style and sensibility with an intuitive and youthful knowledge of music and technology, Emily and her team capture the magic that can only be created in the right studio by the right people. Founded by Emily in 1997, The Lodge is located in the heart of New York City’s Greenwich Village. Equipped with state-of-the art mastering, DVD authoring, surround sound, and specialized recording studios, The Lodge utilizes cutting-edge technologies and attracts both the industry’s most renowned artists and prominent newcomers. From its unique collection of outboard equipment to its sophisticated high-density digital audio workstations, The Lodge is furnished with specially handpicked pieces that lure both analog aficionados and digital audio- philes alike. Moreover, The Lodge is one of the few studios in the New York Metropolitan area with an in-house Ampex ATR-102 one-inch two-track tape machine for master playback, transfer and archival purposes. As Chief Mastering Engineer, Emily’s passion for integrating music with technology has been the driving force behind her success, enabling her to create some of the most distinctive sounding albums released in recent years. Her particular attention to detail and demand for artistic integrity is evident through her extensive body of work that spans genres and musical styles, and has made her a trailblazer in an industry notably lack- ing female representation. -
Sonic Modernities of Our Present By
Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present by Mark V. Campbell A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Sociology and Equity Studies Ontario Institute for Studies in Education University of Toronto © Copyright by Mark V. Campbell 2010 Remixing Relationality: ‘Other/ed’ Sonic Modernities of our Present Doctor of Philosophy 2010 Mark V. Campbell Sociology and Equity Studies University of Toronto Abstract Far from simply playing music, the turntable has, in recent decades, been transformed into a musical instrument. Those that play these new instruments, called Turntablists, alter existing sounds to produce new sonic arrangements, exceeding the assumed use value of the turntable. The turntable’s transformation from record player to instrument captures one of the ways in which Afrosonic sound making activities refuse to conform to existing paradigms of music making in the western world. Throughout the African diaspora, it has been the musics from various regions and nations that continually capture the attention of the world’s music connoisseurs. This dissertation examines the ways in which careful consideration of the sonic innovations in Afrodiasporic cultures produce alternative paradigms through which we might analyze contemporary life. The following chapters interrogate turntablism, remix culture and hip hop music as subtexts that elaborate a foundational narrative of Afrodiasporic life. These subtexts are used as tools to examine the various ethnoscapes of Black Canadian life, official multiculturalism and notions of home within the African diaspora in Canada. The dominant narrative of the African diaspora explored in this work, housed within the sonic, elaborates a relational conception of freedom and modernity born out of the ii particularities of Afrodiasporic life in the west. -
Hip Hop and Literacy in the Lives of Two Students in a Transitional English Course
Running head: HIP HOP AND LITERACY 1 Hip hop and Literacy in the Lives of Two Students in a Transitional English Course A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Education (Ed.D.) in the College of Education, Criminal Justice and Human Services Literacy and Second Language Studies University of Cincinnati Deborah M. Sánchez, M.Ed. Dr. Susan Watts-Taffe (Chair) Dr. Chester Laine (Co-chair) Dr. Carmen Kynard (Member) Dr. Gulbahar Beckett (Member) HIP HOP AND LITERACY 2 Abstract This qualitative dissertation study investigated the following research question: How does Hip hop influence the literate lives, i.e., the connections of Hip hop to readings, writings and other communicative practices, of students who placed into transitional college English courses? The impetus for the study came from the importance that Hip hop has in the lives of young people (Smitherman, 1997). The participants in this study, Dionne and Mike, were students placed into a 1st year non-credit bearing English course, also known as a transitional course (Armstrong, 2007), at a 4-year university. The study employed tools of ethnography (Heath & Street, 2008), such as interviews, classroom observations and textual analysis of students‘ language and literacy practices in spaces inside and outside of the classroom. This study is conceptually framed within cultural studies (Hicks, 2003, 2005, 2009; Nelson, Treichler, & Grossberg, 1992) and sociocultural studies (Dyson & Smitherman, 2009; Street, 2001). Data were analyzed using linguistic analysis (Alim, 2006) and textual analysis (Kellner, 2009).