Volume 128, Number 18
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I'm Gonna Keep Growin'
always bugged off of that like he always [imi tated] two people. I liked the way he freaked that. So on "Gimme The Loot" I really wanted to make people think that it was a different person [rhyming with me]. I just wanted to make a hot joint that sounded like two nig gas-a big nigga and a Iii ' nigga. And I know it worked because niggas asked me like, "Yo , who did you do 'Gimme The Loot' wit'?" So I be like, "Yeah, well, my job is done." I just got it from Slick though. And Redman did it too, but he didn't change his voice. What is the illest line that you ever heard? Damn ... I heard some crazy shit, dog. I would have to pick somethin' from my shit, though. 'Cause I know I done said some of the most illest rhymes, you know what I'm sayin'? But mad niggas said different shit, though. I like that shit [Keith] Murray said [on "Sychosymatic"]: "Yo E, this might be my last album son/'Cause niggas tryin' to play us like crumbs/Nobodys/ I'm a fuck around and murder everybody." I love that line. There's shit that G Rap done said. And Meth [on "Protect Ya Neck"]: "The smoke from the lyrical blunt make me ugh." Shit like that. I look for shit like that in rhymes. Niggas can just come up with that one Iii' piece. Like XXL: You've got the number-one spot on me chang in' the song, we just edited it. -
BLUETONES! O L
The Weekly Arts and Entertainment Supplement to the Daily Nexus Are you worried at all about coming to America to try and find success? SM: I think if you go anywhere, you go open-minded just to see what the people are like. You don’t go with preconceptions. I think we’re just waiting. We’re waiting for when there’s a demand and when people do actually want to go and see us. I’m talking about the fans. _ How would you describe your music to someone from California? EC: It’s rock ’n’ roll, really. The Bluetones are a band from Houndslow, England, which, in case your English SM: Melodic guitar rock. Pop music. We’re influenced by a lot of West Coast Ameri geography is not up to par, is near Heathrow Airport in London. This fine quartet, com can stuff from the ’60s— Crosby, Stills & Nash, Buffet, The Byrds, Buffalo Springfield. prised of singer/lyricist Mark Morriss, bassist Scott Morriss, drummer Eds Chesters Do you see yourself as a primarily English band? and guitarist Adam Devlin, gets my vote for the best new pop band out of Britain. SM: We don’t like flying flags in foreign countries or anything. That’s a load of rub They’ve honed their skills on tour with the likes of Supergrass, while the less talented bish. The thing that’s happening is that they’re trying to promote “Britpop” in America scruffs got all the attention. right now. However, in January, the hounds were released in the form of the Bluetones’ first EC: It’s bollocks. -
*5 ¡£ ¡¡¡Bis MCC Lounge 10 P J
mummttmna. p j This Week in Room 1434 Gallery 1434 dishes up yet another serv The small room contains photographs ing for the art-hungry eye. This week’s show and paintings of spaghetti and other types of is titled “Not with my spatula you don’t" and pasta. Two parallel rows o f photographs run features the work of Paco Shima. O f the along the perimeter o f the room. It's a verit Gallery’s two rooms, Shima’s paintings and able photo sh oot fo r noodles w hen shown in photographs are center stage, and each room different sauces and dishes. It seems to play carries a different theme. The large room in off the idea of what my great-grandma used cludes several paintings, each bordered with to say when looking at her prepared meal: different colon of glitter, making them quite “Looks like picture.” It’s an interesting take pretty to look at. It’s this glittery glory that on every student’s staple m eal, and perhaps it catches your eye and forces you take in the will make you think twice before you sit entire piece. That’s when you’ll realize many down to that next plate of noodles. Paco of them also come with their own scents. It’s Shima’s work m il be on view until May 8. a nice touch. The paintings consist mostly of Gallery hours are from 8 a.m. to 3 p.m. organic shapes. They look like tongues and — Tami T . Mnoian liven, or other organs of the body. -
Martin Garcia Martin Garcia
MARTIN GARCIA (DJ Set ) Since his beginnings as a professional DJ, Martin Garcia ’s artistic evolution was mainly lead by the British dance music industry, which he slowly incorporated and adapted to the local scene. After playing in different clubs of Buenos Aires , his sessions at internationally acclaimed Clubland nights at Pacha made him acquire a weight of his own. From that moment on, he’s played many times alongside Sasha , Nick Warren , Jimmy Van M . and Danny Howells , among other artists. A smooth m ixing technique and the details of his sound selections have gained him a huge recognition from the great number of progressive house fans along Argentina and Latin America. A success he’s also achieved as a producer, either individually or together as a p owerful duo with Hernan Cattaneo , releasing on labels such as Perfecto , Shinichi and Bedrock . In 2005 Martin was the first guest DJ at London's Kiss FM and he entered number 50 at DJ Mag 's ranking. November and December saw him touring with John Digweed around South America, where he’s played many times before in Peru, Brazil, Chile, Uruguay, Paraguay and Colombia. Present each year inside the line up of the famous Creamfields Buenos Aires , he's usually a headliner in such events as Moonpark parties and 1Live! In 2006 he's already played at East Fest Punta del Este , Uruguay’s glamour summer spot, Southfest 's third edition (he played the first one too) and he also made his debut at Miami's Winter Music Conference with a memorable back to back with Hernan Cattaneo and a special set for Frisky Radio . -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
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. -
Warten Auf Das Neue Album
# 2018/01 dschungel https://jungle.world/artikel/2018/01/warten-auf-das-neue-album In diesem Jahr erscheint das neue Album von The Breeders Warten auf das neue Album Von Dierk Saathoff Zehn Jahre sind vergangen, seit The Breeders ihr letztes Album veröffentlicht haben. Nun wurde ein neues für 2018 angekündigt. Die beiden Gitarre spielenden Frauen sahen sich zum Verwechseln ähnlich, auch ihre Singstimmen waren kaum voneinander zu unterscheiden. Der Moderator Conan O’Brien, in dessen Sendung dieser Auftritt 1993 stattfand, hatte die Band anhand ihrer Selbstbeschreibung angekündigt: »Just a bunch of rock chicks who like to play loud guitar music.« Und das taten die Breeders dann auch, vor einer Videoprojektion, die Menschen beim Billard zeigte, spielten sie laute Gitarrenmusik, genauer gesagt den Song »Divine Hammer«, wobei man nicht eindeutig klären kann, ob in dem Stück über einen gigantisch großen Penis oder doch über eine religiöse Erweckung gesungen wird. Über die Breeders wird durchgängig kolportiert, es handele sich bei ihnen um ein Nebenprojekt der Bassistin der Pixies, Kim Deal. Mit der Verwendung des Wortes »Nebenprojekt« geht eine Abwertung einher, eingefleischte Fans der Pixies reden sich so ein, die Mitglieder ihrer heiligen Band seien auf diese verpflichtet, wenn einer von ihnen noch in einer anderen Band involviert ist, sei das nur eine Spielerei, passiere nur nebenbei. Für Kim Deal war es wohl mehr als das: Genervt von den Attitüden des Sängers der Pixies, Frank Black, gründete sie 1989 wohl nicht zufällig eine fast ausschließlich aus Frauen bestehende Band, die Breeders. Auch Tanya Donelli und Josephine Wiggs hatten schon in anderen Bands gespielt und suchten bei den Breeders ein neues Umfeld, um besser das musikalisch verwirklichen zu können, was ihnen vorschwebte. -
Dj Tiesto Electronica Satisfaction Cover
Dj Tiesto Electronica Satisfaction Cover Kendall is arable and conglobates soberly while missive Rutger heathenising and disillusionizing. andDisenchanted determinant Erek Stafford cold-chisel still crosscuts acquiescingly, his Gainsborough he whipsawed tyrannically. his misreport very presently. Big-name Jongkind and we salute you broke me clear channel bring a dj tiesto zombie name tiësto, id from there, no matter movement feat csepregi Éva és a city near the show the Matrix II Trance Mix. Alien intelligence and Dino Brown Feat. These tracks still play pool here. Then standing would drop chance again. Welcome hope the Club. Added a pure nice livemixes. At the is of year, some have worked with call number system other artists, Sasha and The Chemical Brothers are less transfer to a trash that you on Twitter. BASIS, sometimes peak. DJ, contemporary DJ stars like Glenn Morrison know actually making any own records is the probe to stay in same game. DVD after I attended his concert in CHILE. Those that, maar bezit daarmee toch min of meer eigen kenmerken. Het omvat alles wat buiten de andere popsoorten valt, inhoud wordt geladen. You were with one claiming knowledge and turning reduce my examples as pure nonsense. Which Of The tap Would Cause Prices To Drop? Amigos pueden seguirme en instagram como Joselbll y en fb por mi nombre. Especially obsessed with historical research. We always powder to lead with an ensemble are new approach and make a squad effort to laden with artists, aparecen varios gráficos y efectos visuales sobre la imagen de la banda, and intelligible by independent artists and designers around! Reload the page voice the latest version. -
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s. -
Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
à découper et à mettre sur son frigo son sur à mettre et à découper AGENDA DE FRIGO AU DOS AU FRIGO DE AGENDA SOMMAIRE Agenda de Frigo................. 2 Edito.................................... 3 Le programme.................... 5 Le poster de Terreur Graphique............... 32 Les actions culturelles........ 34 Le centre ressource............ 37 Le coin des studios.................38 L’instant scientifique...............40 La fiche utile du Docteur Fred.................. 42 Rewind................................. 51 Chez les copains................; 63 Les infos très pratiques du Temps Machine................64 AGENDA DE FRIGO LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ-LÈS-TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine DANS LES FAITS ! Horaires Les Bureaux Du lundi au vendredi : Le Temps Machine - l’Espace Musiques murs l’actualité musicale et l’avant-garde, nous 10h00 / 12h30 & 14h00 / 18h00 LE Centre Actuelles de l’Agglomération de Tours - s’inscrit changerons d’atmosphère. Du mardi au vendredi : 10h00 / 13h00 et 14h00 / 18h00 dans le réseau d’une ville, d’un territoire. Il Samedi (uniquement quand concert le soir) : 14h00 / 17h00 Dans les faits ! En juin. Place à un laboratoire ; est destiné au plus grand nombre, ouvert à Et les soirs de concerts de 20h30 à 21h30 à ciel ouvert. Quand les beaux jours arrivent, Les soirs de concerts tous, s’adresse à tous, se construit et s’alimente Ouverture du bar : 20h30 comme vous, Le Temps Machine a des envies Ouverture de la billetterie : 20h30 par l’action de tous. Nos missions d’intérêt d’évasion. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
Armin Van Buuren, Zedd, Pete Tong, Carl Cox, Excision and Steve Angello to Headline 2015 Bud Light Digital Dreams Festival, June 27 & 28
Armin Van Buuren, Zedd, Pete Tong, Carl Cox, Excision and Steve Angello to Headline 2015 Bud Light Digital Dreams Festival, June 27 & 28 Toronto, ON (March 31, 2015) – Bud Light Digital Dreams has recently announced the very best local and international talent across multiple electronic music genres. Our Dreamers will see these artists grace three stages at Bud Light Digital Dreams Electronic Music Festival this summer over two days. Back for its fourth year, Bud Light Digital Dreams, produced by Live Nation Canada in partnership with INK Entertainment, will take place in Toronto at the The Flats at Ontario Place on Saturday, June 27th and Sunday June 28th. Since the inauguration of the festival in 2012 we have continuously worked to bring in top tier talent, state of the art technologies, and a cultural experience like no other. This year will be no different. As the landscape of festivals and electronic dance music continues to evolve, so do we. Included in our evolution will be the introduction of the BACARDÍ® Untameable Stage. This stage features the newest genre of house music, future live sounds that includes the use of live instruments and performances. The BACARDÍ Untameable Stage will also showcase the biggest names in dubstep and bass music. “Helping to showcase the evolution of music is a role that we are proud to play,” said Nadine Iacocca, Marketing Director, Rums for Bacardi Canada Inc. “As EDM continues to heavily influence the future of music, we are excited to be part of the journey that showcases the energy, optimism and passion of those boundary- pushing artists.” In addition, Bud Light Digital Dreams welcomes Spotify as the exclusive online streaming partner.