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John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
Bradley Syllabus for South
Special Topics in African American Literature: OutKast and the Rise of the Hip Hop South Regina N. Bradley, Ph.D. Course Description In 1995, Atlanta, GA, duo OutKast attended the Source Hip Hop Awards, where they won the award for best new duo. Mostly attended by bicoastal rappers and hip hop enthusiasts, OutKast was booed off the stage. OutKast member Andre Benjamin, clearly frustrated, emphatically declared what is now known as the rallying cry for young black southerners: “the South got something to say.” For this course, we will use OutKast’s body of work as a case study questioning how we recognize race and identity in the American South after the civil rights movement. Using a variety of post–civil rights era texts including film, fiction, criticism, and music, students will interrogate OutKast’s music as the foundation of what the instructor theorizes as “the hip hop South,” the southern black social-cultural landscape in place over the last twenty-five years. Course Objectives 1. To develop and utilize a multidisciplinary critical framework to successfully engage with conversations revolving around contemporary identity politics and (southern) popular culture 2. To challenge students to engage with unfamiliar texts, cultural expressions, and language in order to learn how to be socially and culturally sensitive and aware of modes of expression outside of their own experiences. 3. To develop research and writing skills to create and/or improve one’s scholarly voice and others via the following assignments: • Critical listening journal • Nerdy hip hop review **Explicit Content Statement** (courtesy: Dr. Treva B. Lindsey) Over the course of the semester students will be introduced to texts that may be explicit in nature (i.e., cursing, sexual content). -
Goodie Mob Album Featuring Ceelo Drops on Groupon
August 23, 2013 Goodie Mob Album Featuring CeeLo Drops on Groupon First Goodie Mob Album in 14 Years For Sale Today on Groupon.com CHICAGO--(BUSINESS WIRE)-- Groupon (NASDAQ: GRPN) (http://www.groupon.com) today announces a deal for Goodie Mob's first album in 14 years. Groupon has a limited supply of Goodie Mob's new album, "Age Against the Machine," which officially releases from Primary Wave on Aug. 27. The CD is now available for purchase at Groupon.com for $8.99 at http://gr.pn/180qCBQ. The first single off the new Goodie Mob album is entitled, "Special Education," featuring Janelle Monae. The album also features T.I., and Goodie Mob's U.S. tour kicks off this weekend on Aug. 24 in Washington, with a special stop the following night in Brooklyn, N.Y. for a post-VMAs concert at Brooklyn Bowl. Goodie Mob's last released single was "Fight To Win," in the summer of 2012, an anthem of liberation, motivation and determination to always fight to win in life, a motto that the Goodie Mob lives by. Also, CeeLo Green's memoire, "Everybody's Brother," releases Sept. 10. In addition to the new album, tour and book, CeeLo and Goodie Mob will be the subjects of a new reality series to debut in 2014. Goodie Mob is a pioneering Southern hip-hop group and one of the most celebrated rap acts to come out of the hip-hop hotbed of Atlanta. Formed in 1991, Goodie Mob's original and current group members include CeeLo Green, Big Gipp, Khujo and T-Mo, all of whom grew up together in Atlanta alongside the rest of the Dungeon Family—the musical collective of Southern rappers, which includes Andre 3000 and Big Boi of Outkast, Organized Noise and Parental Advisory. -
Spacemonkeyz Laika Come Home Mp3, Flac, Wma
Spacemonkeyz Laika Come Home mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Laika Come Home Country: Australia Released: 2002 Style: Dub, Trip Hop MP3 version RAR size: 1142 mb FLAC version RAR size: 1595 mb WMA version RAR size: 1309 mb Rating: 4.6 Votes: 752 Other Formats: AA ADX XM APE TTA ASF WAV Tracklist 1 19/2000 (Jungle Fresh) 5:28 2 Slow Country (Strictly Rubbadub) 3:41 3 Tomorrow Comes Today (Bañana Baby) 5:29 4 Man Research (Monkey Racket) 5:57 5 Punk (De-Punked) 5:20 6 5/4 (P.45) 4:26 7 Starshine (Dub 09) 5:17 8 Soundcheck (Gravity) (Crooked Dub) 5:13 9 New Genius (Brother) (Mutant Genius) 5:02 10 Re-Hash (Come Again) 6:04 11 Clint Eastwood (A Fistful Of Peanuts) 5:53 12.1 M1A1 (Lil' Dub Chefin') 5:41 12.2 Slow Country (More Rubbadub) 5:14 Credits Arranged By [Horn Arrangements] – Michael Smith* Artwork By [Illustration] – J.C. Hewlett Bass – Dan Left Hand* (tracks: 1), Phil Soul (tracks: 2, 3, 4, 8, 10, 12.1), Stuart Zender (tracks: 3, 4) Castanets – Jaques Shythé (tracks: 1) Clavinet – Stuart Zender (tracks: 4) Co-producer [Original] – Jason Cox (tracks: 1 to 6, 7 to 11), Tom Girling (tracks: 1 to 6, 7 to 11) Design – Kate Mclauchlan Engineer [Assistant] – Pete Collis Engineer [Original] – Jason Cox, Tom Girling Flute – Mike Smith (tracks: 11) Guitar – 2D (tracks: 7, 8, 10), Simon Katz (tracks: 6) Horns – Dennis Rollins (tracks: 2, 3, 5, 6, 10 to 12.1), Dominic Glover (tracks: 2, 3, 5, 6, 10 to 12.1), Martin Shaw (tracks: 1), Michael Smith* (tracks: 1 to 3, 5, 6, 10 to 12.1) Melodica – 2D (tracks: 3, 4, -
Thank You Luton for All the Positive Comments and Sup- Port You Gave Our First Edition
StandUp One TownLuton One Community One Voice Special Edition Thank you Luton For all the positive comments and sup- port you gave our first edition. We dis- tributed 20,000 copies which would not have been possible without the help and Inside this edition: support of Luton folk and businesses Page 2 StandUp Says and Your Letters. who gave up their time to help distrib- Page 3 Memories of Christmas. ute StandUp Luton news - a big shout out goes to every business, shop and Pages 4 Feature article: Will the real Father Christmas please StandUp. Which the people of Luton who gave us their version of Santa Clause are you? support and time and got the paper out there. We would also like to thank you Page 5 StandUp people. Page 6, 7 Feature article – Beware the Silent the reader for your emails and positive Thief – a story about a priceless comments. possession. Lutonians this is your paper! This is an opportunity to show the StandUp Luton Sports. good that come out of this town. Standup Luton News is your news Page 8 – stories about people and stuff going on in your town. We need you to share your stories – so don’t be shy. Next Edition’s feature article: This paper is a free newspaper that is entirely self funded. It is our Next Edition’s feature article: Do you voice, independent of any government funding, sponsorship or project funding. Hard to believe for some we know; but as one per- the young people of Luton get a Bad son said, when we explained this was a paper with just good news Press because they are Bad? about Luton, “about time”. -
El Videoclip Como Paradigma De La Música Contemporánea, De 1970 a 2015
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN DEPARTAMENTO DE COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD I TESIS DOCTORAL El videoclip como paradigma de la música contemporánea, de 1970 a 2015 MEMORIA PARA OPTAR AL GRADO DE DOCTORA PRESENTADA POR Lara García Soto DIRECTOR Francisco Reyes Sánchez Madrid, 2017 © Lara García Soto, 2016 Universidad Complutense de Madrid Facultad de CC. de la Información Comunicación Audiovisual y Publicidad I El videoclip como paradigma de la música contemporánea, de 1970 a 2015 Tesis doctoral presentada por: Lara García Soto. Tesis doctoral dirigida por: Francisco Reyes Sánchez. Madrid, 2015 El ejemplo, la fuerza y el esfuerzo, mis padres. La paciencia y apoyo, Adrián. La música, baile y mi inspiración, Michael Jackson. Gracias. ÍNDICE 1. Introducción y Objeto de estudio……………………………………1 2. Objetivos……………………………………………………………….6 3. Metodología………………………………………............................10 4. Orígenes……………………………………………………………….13 4.1. Cine sonoro y experiencias artísticas………………………13 4.2. Cine Musical…………………………………………………..18 4.3. Soundies y Scopitones……………………………………….25 4.4. La llegada de las películas rock, grabaciones de conciertos. Décadas de los 50 y 60……………………………………………29 4.5. El videoarte……………………………….............................38 4.6. La televisión y los programas musicales………………......41 4.6.1. La MTV………………………………………………...........48 4.6.2. Programas musicales en España………………………...57 4.6.3. Los canales temáticos de música y videoclips………….65 5. Historia de la música y relación con los videoclips……………….68 5.1. Los años 70…………………………………………………..69 5.2. Los años 80…………………………………………………..76 5.2.1. La televisión y los videoclips. Desarrollo del rap…..80 5.2.2. El primer muro. El PMRC…………………………….86 5.2.3. Continúa la evolución: música, tecnología y moda..89 5.2.4. -
Rosa Parks: Outkast
Rosa Parks: Outkast (Hook) Ah ha, hush that fuss Everybody move to the back of the bus Do you wanna bump and slump with us We the type of people make the club get crunk Verse 1:(Big Boi) Many a day has passed, the night has gone by But still I find the time to put that bump off in your eye Total chaos, for these playas, thought we was absent We takin another route to represent the Dungeon Family Like Great Day, me and my nigga decide to take the back way We stabbing every city then we headed to that bat cave A-T-L, Georgia, what we do for ya Bull doggin hoes like them Georgetown Hoyas Boy you sounding silly, thank my Brougham aint sittin pretty Doing doughnuts round you suckas like then circles around titties Damn we the committee gone burn it down But us gone bust you in the mouth with the chorus now (Hook) I met a gypsy and she hipped me to some life game To stimulate then activate the left and right brain Said baby boy you only funky as your last cut You focus on the past your ass'll be a has what Thats one to live by or either that one to die to I try to just throw it at you determine your own adventure Andre, got to her station here's my destination She got off the bus, the conversation lingered in my head for hours Took a shower kinda sour cause my favorite group ain't comin with it But I'm witcha you cause you probably goin through it anyway But anyhow when in doubt went on out and bought it Cause I thought it would be jammin but examine all the flawsky-wawsky Awfully, it's sad and it's costly, but that's all she wrote And I hope I never have to float in that boat Up shit creek it's weak is the last quote That I want to hear when I'm goin down when all's said and done And we got a new joe in town When the record player get to skippin and slowin down All yawl can say is them niggas earned that crown but until then.. -
Outkast'd and Claimin' True
OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON (Under the direction of Judith Preissle) ABSTRACT The hiphop community of practice encompasses a range of aesthetic values, norms, patterns, and traditions. Because of its growth over the last three decades, the community has come to include regionallyspecific networks linked together by community members who engage in meaningful practices and experiences. Expressed through common language ideologies, these practices contribute to the members’ communal and individual identity while simultaneously providing platforms to articulate social understandings. Using the constructs of community of practice and social networks, this research project is an interpretive study grounded primarily in the use of lyrics and interviews to investigate the linguistic patterns and language norms of hip hop’s southern network, placing emphasis on the Atlanta, Georgia southern hiphop network. The two main goals are to gain an understanding of the role of school in the cultivation of the network and identify the network’s relationship to schooling and education. The purpose is to identify initial steps for implementing a hiphop pedagogy in curriculum and instruction. INDEX WORDS: Hiphop community of practice, social network, language ideology, hiphop generation, indigenous research, schooling, education OUTKAST’D AND CLAIMIN’ TRUE: THE LANGUAGE OF SCHOOLING AND EDUCATION IN THE SOUTHERN HIPHOP COMMUNITY OF PRACTICE by JOYCELYN A. WILSON B.S., The University of Georgia, 1996 M.A., Pepperdine University, 1998 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2007 ã 2007 Joycelyn A. -
1 GRAAT On-Line Occasional Papers – December 2008 Representing The
GRAAT On-Line Occasional Papers – December 2008 Representing the Dirty South: Parochialism in Rap Music David Diallo Université Montesquieu – Bordeaux IV In this article, divided into two parts, I examine the parochial discourse of rap musicians from the Dirty South and study its symbolic stakes through a socio- historical analysis of hip-hop’s cultural practices. First, I address the importance for Southern hip hop musicians of mentioning their geographic origins. They develop slang, fashion style, musical and lyrical structures meant to represent the Dirty South. In part II, I examine the Dirty South rap scene, and point out some of its characteristics and idiosyncrasies. Rap historians generally consider that, before 1979, hip hop was a local phenomenon that had spread out geographically in poor neighborhoods around New York (Ogg 2002, Fernando 1994, George 2001). Chronologically, Kool Herc, using the principle of Jamaican sound system, defined the norms of reference for hip hop deejaying and determined the standard way to accomplish this practice. His style and technique established the elemental structure of rap music and determined the “proper” way to make rap. It is particularly interesting to note that the emerging sound system scene in the Bronx was spatially distributed as follows. Kool Herc had the West Side, Afrika Bambaataa had Bronx River, and Grandmaster Flash had the South Bronx, from 138 th Street up to Gun Hill. This parting of the Bronx into sectors (DJs’ territories) distinguished the locations that covered the key operative areas for the competing 1 sound systems. This spatial distribution reveals rap music’s particular relationship to specified places. -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
Digital Sampling and Appropriation As Approaches to Electronic Music Composition and Production Gene Shill
Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Author Shill, Gene Published 2016-12 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3631 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/370569 Griffith Research Online https://research-repository.griffith.edu.au Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Gene Shill BA, MA (Distinction) Queensland Conservatorium Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 “The most beautiful experience we can have is the mysterious - the fundamental emotion which stands at the cradle of true art and true science.” Albert Einstein Abstract Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes. -
The Routledge Companion to Remix Studies
THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group.