16 Tossups on Locations in Hip-Hop: an Incomplete Packet by York Chen Written During Covid19 Quarantine 2K20
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Taking Intellectual Property Into Their Own Hands
Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc. -
112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12
112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12 Gauge Dunkie Butt 12 Gauge Dunkie Butt 2 Live Crew Sports Weekend 2nd II None If You Want It 2nd II None Classic 220 2Pac Changes 2Pac All Eyez On Me 2Pac All Eyez On Me 2Pac I Get Around / Keep Ya Head Up 50 Cent Candy Shop 702. Where My Girls At 7L & Esoteric The Soul Purpose A Taste Of Honey A Taste Of Honey A Tribe Called Quest Unreleased & Unleashed Above The Law Untouchable Abyssinians Best Of The Abyssinians Abyssinians Satta Adele 21. Adele 21. Admiral Bailey Punanny ADOR Let It All Hang Out African Brothers Hold Tight (colorido) Afrika Bambaataa Renegades Of Funk Afrika Bambaataa Planet Rock The Album Afrika Bambaataa Planet Rock The Album Agallah You Already Know Aggrolites Rugged Road (vinil colorido) Aggrolites Rugged Road (vinil colorido) Akon Konvicted Akrobatik The EP Akrobatik Absolute Value Al B. Sure Rescue Me Al Green Greatest Hits Al Johnson Back For More Alexander O´Neal Criticize Alicia Keys Fallin Remix Alicia Keys As I Am (vinil colorido) Alicia Keys A Woman´s Worth Alicia Myers You Get The Best From Me Aloe Blacc Good Things Aloe Blacc I Need A Dollar Alpha Blondy Cocody Rock Althea & Donna Uptown Top Ranking (vinil colorido) Alton Ellis Mad Mad Amy Winehouse Back To Black Amy Winehouse Back To Black Amy Winehouse Lioness : The Hidden Treasures Amy Winehouse Lioness : The Hidden Treasures Anita Baker Rapture Arthur Verocai Arthur Verocai Arthur Verocai Arthur Verocai Augustus Pablo King Tubby Meets Rockers Uptown Augustus Pablo In Fine Style Augustus Pablo This Is Augustus Pablo Augustus Pablo Dubbing With The Don Augustus Pablo Skanking Easy AZ Sugar Hill B.G. -
Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
Bullets High Five
DUC REDAKTION Hofweg 61a · D-22085 Hamburg T 040 - 369 059 0 WEEK 31 [email protected] · www.trendcharts.de 29.07.2021 Approved for publication on Tuesday, 03.08.2021 THIS LAST WEEKS IN PEAK WEEK WEEK CHARTS ARTIST TITLE LABEL/DISTRIBUTOR POSITION 01 01 06 Tyga Ft. Moneybagg Yo Splash Last Kings/Empire 01 02 02 07 Ty Dolla $ign x Jack Harlow x 24kGoldn I Won Atlantic/WMI/Warner 02 03 04 05 Wale Ft. Chris Brown Angles Maybach/Warner/WMI 03 04 03 08 Nicky Jam x El Alfa Pikete Sony Latin/Sony 02 05 05 09 City Girls Twerkulator Quality Control/Motown/UMI/Universal 02 06 06 06 Meghan Thee Stallion Thot Shit 300/Atlantic/WMI/Warner 03 07 14 03 J Balvin x Skrillex In Da Getto Sueños Globales/Universal Latin/UMI/Universal 07 08 09 04 dvsn & Ty Dolla $ign Ft. Mac Miller I Believed It OVO/Warner/WMI 08 09 17 07 Doja Cat Ft. SZA Kiss Me More Kemosabe/RCA/Sony 08 10 21 02 Post Malone Motley Crew Republic/UMI/Universal 10 11 NEW Daddy Yankee Ft. Jhay Cortez & Myke Towers Súbele El Volumen El Cartel/Republic/UMI/Universal 11 12 07 03 Shirin David Lieben Wir Juicy Money/VEC/Universal 01 13 13 02 Maluma Sobrio Sony Latin/Sony 13 14 NEW Pop Smoke Ft. Chris Brown Woo Baby Republic/UMI/Universal 14 15 NEW MIST Ft. Burna Boy Rollin Sickmade/Warner/WMI 15 16 12 03 Brent Faiyaz Ft. Drake Wasting Time Lost Kids 09 17 11 04 RIN Ft. -
DJ Paul King of Kings
King Of Kings DJ Paul It is I my son, the king of the muthafuckin M Awakened by all you hatin ass hoes, ya bitch you And it's going muthafuckin down For all you muthafuckin wannabe Hypnotize Camp Posse azz niggas Who we got in this muthafucka, nigga count em out Crunchy Blac up in this bitch, my nigga Juice Lord Soze Louder nigga let em know! I'm pull the trigga nigga bitch, it's hoe Yeah you got Frayser Boy in this muthafucka Bout to ride on one of you bitch-made niggas And ya boy DJ muthafuckin Paul Like thiiiiiiiis Nigga get all ya boys, tell em bring all they guns And being ya'll some hoes I get the heater when you come When I dump to hit your pressure point with .44 slugs All this medicine, a felon is committed by this thug Head bust, they took ya in mood, huh Cuz we'll rip you for whatever and leave ya skull fucked up Pop some double bucks To ya nuts Cough em up Slut Drop the meat up Then I call em triple six guts Who run, I know you know Quit playin, you damned hoe La Chat, can't take no mo We brangin it to the dome I got the tec-9, four-five, can't forget the AK Finna take you to the streets, blow you bitches clean away Mayne I'm sick and tired of you talking I'm open with my dog and Is it true that I will be stalkin And punkin bitches walkin Hope you niggas paying attention to everything I mention Shit I'm full up on that tension I'm goin on a mission Now sippin on some gin and some mo (some mo) Watchin niggas in the room snortin blow (snortin blow) They got weed, and it's already rolled (ready rolled) Quick babies in that doe -
Y'all Call It Technical and Professional Communication, We Call It
Y’ALL CALL IT TECHNICAL AND PROFESSIONAL COMMUNICATION, WE CALL IT #FORTHECULTURE: THE USE OF AMPLIFICATION RHETORICS IN BLACK COMMUNITIES AND THEIR IMPLICATIONS FOR TECHNICAL AND PROFESSIONAL COMMUNICATION STUDIES by Temptaous T. Mckoy July 2019 Director of Dissertation: Michelle F. Eble Major Department: Department of English This project seeks to define and identify the use of Amplification Rhetorics (AR) in the social movement organization TRAP Karaoke and at three Historically Black Colleges and Universities (HBCUs). In highlighting the AR practices in Black communities. This project will provide insight into what these practices and spaces have to offer to the field of Technical and Professional Communication (TPC). AR is a theoretical framework that details the discursive and communicative practices, both written/textual and embodied/performative performed/used by individuals that self-identify as Black and centers the lived experiences and epistemologies of Black people and other historically marginalized groups. AR are #ForTheCulture practices that provoke change within the academy, regardless the field, however for this project I focus on the field of TPC. The phrase “For the Culture,” is used to describe or allude to an action that can benefit those individually or within a community much like TPC artifacts. This project identifies rhetorical practices located in Black spaces and communities that can be identified as TPC through the reclamation of agency, the sharing of narratives, and the inclusion of Black epistemologies. It illustrates just what it means to pass the mic and remind folks that we not ‘bout to act like there aren’t people of color at the TPC table. -
Ta1300 Album Download TA13OO
ta1300 album download TA13OO. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $12.99. A former member of SpaceGhostPurrp's Raider Klan , Denzel Curry is one of the precursors of the new generation of electro coming out of Florida. Now joined by such wild men as Smokepurrp, Ski Mask Da Slump God or the late XXXTentacion, Denzel has created a complex mix, which has been much-covered by his peers. To sum it up, his music is a mixture of very technical rap in the tradition of Memphis and the Three 6 Mafia and a rather more elevated psychedelic tendency taken from Outkast and the Dungeon Family. A pure product of the SoundCloud generation, he made waves with Nostalgic 64 (2013) and then Imperial (2016). At the age of just 23, Denzel Curry shows a disarming maturity and an unflagging versatility on TA13oo , his most ambitious album to date. TA13OO. The South Florida rapper carves out his own lane within the genre known as SoundCloud rap, displaying considerable versatility as he channels the pain and confusion of youth. Featured Tracks: In the chaotic arena that is SoundCloud rap, Denzel Curry has etched out his own distinct realm. Presumably he doesn’t mind being tagged as a SoundCloud rapper, as murky and hard to define as that term is. It was just in May that Curry went to the mattresses to uphold his version of the genre’s history, using Twitter and interviews to torpedo Smokepurpp’s claim to have fathered the movement. -
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. -
Automotive List Price No
Automotive List Price No. PL21.1WL Effective: September 1, 2021 Void: December 14, 2021 Order Anytime Day or Night by E-mail: [email protected] Many products listed in this price list meet or exceed AMECA, SAE and California Title XIII requirements. For details contact your regional sales office. Every effort will be made to hold prices through the end date. We reserve the right to increase prices on certain and/or all products. Whelen Engineering Company, Inc. is not responsible for typographical errors. ISO 9001 Registered QMS Follow us on WE'RE A GROUP OF PIONEERS WHO THRIVE ON CREATIVE INNOVATIONS Trusted to Perform means superior design, meticulous production, rigorous testing and total reliability in the field—where lives are on the line. 51 Winthrop Road, Chester, Connecticut 06412-0684 • (860) 526-9504 • www.whelen.com © 2021 Whelen Engineering Company, Inc “Made-To-Order Products” are defined as either models listed in this price sheet with a “††” symbol in front of the model field of each “made-to-order” model; or any model not listed in this price sheet. TABLE OF All such “††” noted models or those not listed in this price sheet are NCNR (special order, non-cancelable, non-returnable). Please allow sufficient time for production, as these models may require multiple CONTENTS machines for the processing of these special parts. Dash/ Deck/ Visor ............................................................1 Lightbars, Mini ..............................................................40 Dash/ Deck/ Visor, Directional .......................................................1 -
Prismatic Vision : a Phenomenological Exploration of Creativity
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9303938 Prismatic vision: A phenomenological exploration of creativity Hotz, Helen Nita, Ed.D. The University of North Carolina at Greensboro, 1992 Copyright ©1992 by Hotz, Helen Nita. -
Underground Volume 16 for Da Summa Free Download DJ Paul Underground Volume 17 - for Da Summa
underground volume 16 for da summa free download DJ Paul Underground Volume 17 - For Da Summa. The newest DJ Paul album, "Underground Volume 17 - For Da Summa", was released on September 15th, 2017. The LP features guest appearances from artists such as Dave East, Yelawolf, Lil Jon, Lil Wyte, Riff Raff, and Lord Infamous (R.I.P.). Track list: 1. Fresh Out da Crazy House 2. Bitch Move (feat. Lil Jon, Lord Infamous & Layzie Bone) 3. Go Buck 4. Hell 2 da Naw 5. No High Enough (feat. Lil Wyte) 6. Headshot Hair Do 7. Tryin' to Get It (Album Mix) [feat. Dave East & Jon Connor] 8. Spend Sum (Album Mix) [feat. Weirdo King] 9. Me Too (Skit) [feat. Computer Russell Resthaven] 10. Me Too 11. Crazy Off da Bud (Remix) [feat. Lord Infamous] 12. Poe Up Wetty (feat. Lil Wyte) 13. Litty Up (Album Mix) [feat. Yelawolf] 14. No Sex, No Cryin' (Skit) [feat. Joe Judah] 15. No Sex, No Cryin' 16. Real Fake (feat. Riff Raff) 17. Ain't Gone Love It (Album Mix) [feat. Weirdo King] 18. Side Figga 19. My Shadow (feat. Seed of 6ix) 20. Outro. Days to release. Add News & Media Report Leak or stream. Album details. Hype: 0 Artist: DJ Paul Album: Underground Volume 17 - For Da Summa Official Release: Sep 15, 2017 Genre: HipHop, Rap. Visit Has it Leaked but for movies, Where You Watch. Slaughter To Prevail . Iron Maiden : Senjutsu Dream Theater : A View. The Killers : Pressure. Kanye West : DONDA Between The Buried And. Lorna Shore : …And I Re. Lorde : Solar Power Deafheaven : Infinite G. -
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.