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The Cinema of Oliver Stone
Interviews Stone on Stone Between 2010 and 2014 we interviewed Oliver Stone on a number of occasions, either personally or in correspondence by email. He was always ready to engage with us, quite literally. Stone thrives on the cut- and- thrust of debate about his films, about himself and per- ceptions of him that have adorned media outlets around the world throughout his career – and, of course, about the state of America. What follows are transcripts from some of those interviews, with- out redaction. Stone is always at his most fascinating when a ques- tion leads him down a line of theory or thinking that can expound on almost any topic to do with his films, or with the issues in the world at large. Here, that line of thinking appears on the page as he spoke, and gives credence to the notion of a filmmaker who, whether loved or loathed, admired or admonished, is always ready to fight his corner and battle for what he believes is a worthwhile, even noble, cause. Oliver Stone’s career has been defined by battle and the will to overcome criticism and or adversity. The following reflections demonstrate why he remains the most talked about, and combative, filmmaker of his generation. Interview with Oliver Stone, 19 January 2010 In relation to the Classification and Ratings Administration Interviewer: How do you see the issue of cinematic censorship? Oliver Stone: The ratings thing is very much a limited game. If you talk to Joan Graves, you’ll get the facts. The rules are the rules. -
Death Row Records
The New Kings of Hip-Hop Death Row Records “You are now about to witness the strength of street knowledge.” —N.W.A. Contents Letter from the Director ................................................................................................... 4 Mandate .......................................................................................................................... 5 Background ...................................................................................................................... 7 Topics for Discussion ..................................................................................................... 10 East Coast vs. West Coast .................................................................................... 10 Internal Struggles................................................................................................. 11 Turmoil in Los Angeles ........................................................................................ 12 Positions ........................................................................................................................ 14 Letter from the Director Dear Delegates, Welcome to WUMUNS XII! I am a part of the class of 2022 here at Washington University in St. Louis, and I’ll be serving as your director. Though I haven’t officially declared a major yet, I’m planning on double majoring in political science and finance. I’ve been involved with Model UN since my freshman year of high school, and I have been an active participant ever since. I am also involved -
Eazy-E Eazy Duz It Mp3, Flac, Wma
Eazy-E Eazy Duz It mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Eazy Duz It Country: UK Released: 2002 Style: Gangsta MP3 version RAR size: 1193 mb FLAC version RAR size: 1876 mb WMA version RAR size: 1922 mb Rating: 4.8 Votes: 514 Other Formats: DTS MOD AIFF AUD MIDI DXD AHX Tracklist 1 Still Talkin' 2 Nobody Move 3 Ruthless Villain 4 2 Hard Mutha's 5 Boyz-N-The-Hood (Remix) 6 Eazy-Duz-It 7 We Want Eazy 8 Eazy-er Said Than Dunn 9 Radio 10 No More ?'s 11 I'mma Break It Down 12 Eazy-Chapter 8 Verse 10 13 Intro: New Year's E-vil 14 Only If You Want It 15 Neighborhood Sniper 16 Niggaz My Height Don't Fight 17 Merry Muthafuckin' Xmas Notes Available From 23rd September 2002 For Promotional Use Only Not For Re-sale Barcode and Other Identifiers Matrix / Runout: P5409197980202 Other versions Category Artist Title (Format) Label Category Country Year Ruthless Records, SL 57100, Eazy-Duz-It (LP, Priority Records, SL 57100, Eazy-E US 1988 SL57100 Album) Ruthless Records, SL57100 Priority Records IMCD 124, Eazy-Duz-It (CD, Island Masters, 4th IMCD 124, Eazy-E Europe 1988 842 924-2 Album) & Broadway 842 924-2 ILPM 2070, Eazy-Duz-It (LP, Island Masters, 4th ILPM 2070, Eazy-E UK 1993 842 924-1 Album, RE) & Broadway 842 924-1 Island Records, Eazy-Duz-It (CD, Ruthless Records, 842 924-2 Eazy-E 842 924-2 Australasia Unknown Album, RE) Priority Records, 4th & Broadway Eazy-Duz-It (CD, Ruthless Records, CDL57100 Eazy-E CDL57100 US 1988 Album) Priority Records Related Music albums to Eazy Duz It by Eazy-E Eazy Mac - Nirvana Eazy-E / N.W.A - Boyz-N-The-Hood / Dopeman Eazy-E - Sippin' On A 40 Eazy & K Motionz - Blood Bath / Double Kill G-Eazy - Eazy-E - It's On (Dr. -
88Th Oscars® Nominations Announced
MEDIA CONTACT Natalie Kojen [email protected] January 14, 2016 FOR IMMEDIATE RELEASE 88TH OSCARS® NOMINATIONS ANNOUNCED LOS ANGELES, CA — Academy President Cheryl Boone Isaacs, Guillermo del Toro, John Krasinski and Ang Lee announced the 88th Academy Awards® nominations today (January 14). Del Toro and Lee announced the nominees in 11 categories at 5:30 a.m. PT, followed by Boone Isaacs and Krasinski for the remaining 13 categories at 5:38 a.m. PT, at the live news conference attended by more than 400 international media representatives. For a complete list of nominees, visit the official Oscars® website, www.oscar.com. Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees. Official screenings of all motion pictures with one or more nominations will begin for members on Saturday, January 23, at the Academy’s Samuel Goldwyn Theater. Screenings also will be held at the Academy’s Linwood Dunn Theater in Hollywood and in London, New York and the San Francisco Bay Area. Active members of the Academy are eligible to vote for the winners in all 24 categories. To access the complete nominations press kit, visit www.oscars.org/press/press-kits. The 88th Oscars will be held on Sunday, February 28, 2016, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live by the ABC Television Network at 7 p.m. -
“Straight Outta Compton”—NWA (1988)
“Straight Outta Compton”—N.W.A (1988) Added to the National Registry: 2016 Essay by Ben Westhoff (guest post)* “Straight Outta Compton” LP N..W.A Gangsta rap existed before “Straight Outta Compton,” but N.W.A’s landmark 1988 album popularized the genre and serves as its standard bearer even today. The mythology of the artists behind its creation also continues to loom large: Eazy-E, the Compton crack dealer who used his profits to finance a hip-hop career; Dr. Dre, his neighbor who’d most recently been DJ-ing in flamboyant, sequined outfits for a song-and-dance group; Ice Cube, the ostentatious high school rapper from South Central Los Angeles whose writing gifts matched his aggressive delivery. But it was the characters they imagined--both militarized street kids sick of being humiliated by the cops and brash punks on the hunt for sex and cheap booze--that shaped the album, marching in time to Dr. Dre’s assault of chopped samples, wailing sirens, guitar riffs, and rapid drum machine beats, all of it more tuneful than it sounds on paper. Rounded out by the group’s other firebrand rapper, MC Ren, Dr. Dre’s production partner, MC Yella, and electro-rap holdover Arabian Prince--not to mention hugely influential ghostwriter D.O.C.--N.W.A reshaped hip-hop music in their own image. They called it “reality rap,” but in the beginning it was far from clear that N.W.A would rap unvarnished lyrics threatening the status quo. Dr. Dre and Ice Cube’s earlier music disparaged the gang lifestyle, and just about everyone in the group admired Prince. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
SKYSCRAPER CINEMA This Page Intentionally Left Blank SKYSCRAPER CINEMA
SKYSCRAPER CINEMA This page intentionally left blank SKYSCRAPER CINEMA ARCHITECTURE AND GENDER IN AMERICAN FILM fp MERRILL SCHLEIER University of Minnesota Press Minneapolis • London The University of Minnesota Press gratefully acknowledges the work of Edward Dimendberg, editorial consultant, on this project. A portion of chapter 3 was previously published as “Ayn Rand and King Vidor’s Film The Fountainhead: Architectural Modernism, the Gendered Body, and Political Ideology,” Journal of the Society of Architectural Historians 61 (March 2002): 310–30; reprinted by permission of the Society of Architectural Historians. Another version of chapter 3 was published as “The Grid, the Spectacle, and the Labyrinth in The Big Clock’s Skyscraper: Queered Space and Cold War Discourse,” Film Studies 11 (Winter 2007): 37–48. “Portrait of a Cog,” by Kenneth Fearing, is reprinted with the permission of Russell and Volkening as agents for the author. Copyright 1940 by Kenneth Fearing; renewed in 1968 by the estate of Kenneth Fearing. Copyright 2009 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmit- ted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401- 2520 http://www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Schleier, Merrill. Skyscraper cinema : architecture and gender in American fi lm / Merrill Schleier. p. cm. Includes bibliographical references and index. ISBN 978-0-8166-4281-6 (hc : alk. -
Federal Bureau of Investigation
O O FEDERAL BUREAU OF INVESTIGATION FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECT: TUPAC SHAKUR FEDERALOF BUREAU INVESTICQION FOIPA DELETED PAGE INFORMATION SHEET Serial Description " COVER SHEET O1/03/1997 Total Deleted Page s! " 28 ~ Page Duplicate -| Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate ~ Page Duplicate -I Page Duplicate ~ Page Duplicate -: Page Duplicate ~ Page Duplicate 4-: Page Duplicate ~ Page b7C ~ Page b7C FREEDOM OF INFORMATION AND PRIVACY ACTS SUBJECTT O Tupap _S11:;kyr___ ii I _ FILE NUMBER __ 266A-OLA-2Q1_8Q74 VI-IQ!_ _ _ _ _ _ SECTION NUMBER: _ ,7 _1_ _ _ _ FEDERAL BUREAUOF INVESTIGATION 2/3:/1995! FEDERAL BUREAU OF INVESTIGATION Precedence: ROUTINE Date: 01/03/1997 4/{oz FBIHeadquarters Attn: NSD, CTBranch, DTS,DTOU From! Los Angeles NSD~6 ApprovedI By:I Drafted By: mpbh}I92'I'I'M' Case ID #= 266A-LA-2o1so7,¬3 - ECEASED!;I _ ERIC WRIGHT,AKA EAZY~EVICTIM DECEASED!; WC AOTDTDEATH THREATS 00; LOS ANGELES ARMED AND DANGEROUS synopsis: Status of investigation and request for extension to PI. Previous Title: | _| ET AL; TUPAC SHAKURVICTIM DECEASED!; EAZY-EVICTIM DECEASED!; ACT-DT-DEATH THREATS; O02 LOS ANGELE$ Preliminary Inquiry Initiated: 10/1'7/1996, set to expire 01/17/1995. Enclosures: One original and five copies of a Letterhead Memorandum, dated 01/O3/1997. Details: Title marked changed to reflect the true name of EAZY-E. Enclosed for the Bureau are one original and five copies of a Letterhead Memorandum, dated O1/03/1997, which contains the current status of captioned matter. -
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. -
N.W.A's Influence on Society
#1 N.W.A’s Influence on Society Abstract I conducted research on the influence that the musical group N.W.A had on society in the late 80’s and as well as their influence on today's society. N.W.A is very well known for having changed the music industry, and they have been a controversial group since their debut album “Straight Outta Compton” was released on August 8, 1988. The album's songs were based on the group members' personal lives. N.W.A was putting out music and rapping about topics that at the time no one would dare to do.While conducting my research I found out why they were such a controversial group in the late 80’s; till this day they are still seen as controversial. Research Questions 1. In the 80s why was this group controversial? Is N.W.A still considered controversial today? 2. Why was “F _ _ _ Tha Police” one of their most popular and well known songs? 3. What are the members of the group doing now? “Who gave it that title, gangsta rap? It’s reality rap. It’s about what’s really going on.” - Eazy-E #2 How the Group Formed ● Was formed in 1987 by Eazy-E who co-founded a record label called “Ruthless Records”. ● Eazy-E recruited Dr. Dre and Ice Cube to write for his label. ● Ice-Cube & Dr. Dre wrote a song for a different group under Ruthless Records, but they decided not to record. So Eazy, Ice, & Dre recorded “Boyz-n-the-Hood” under the group name N.W.A. -
MICHAEL ABRAMSON Ciets TOTALK ABOUT HIS NWA DAYS, Hl$ FRIEND EAZY-E, YELLA and Hl$ NEW ALBUM
FIGURATIVELY FORCED TO PERFORM BY THE EMBARASSMENT OF PREVIOUS EFFORTS Arts and Entertainment Supplement -to the Da i I MICHAEL ABRAMSON CiETS TOTALK ABOUT HIS NWA DAYS, Hl$ FRIEND EAZY-E, YELLA AND Hl$ NEW ALBUM. Over the course of the past year, A rtsw eek has spent a significant amount of ink re I wanted Dre and Cube to do something, butat the time, it would have been invading flecting on the death from AIDS of gangsta rap pioneer and all-around music legend - their space or something. I didn’t want to just come to them, after not talking to them Eazy-E. This is for several reasons, the primaiy one being that Eazy is simply an inter for so long, and ask them for something. I just didn’t even go through it The people I esting guy to read about as well as an enigmatic figure who, since ms entrance into the got with on this one were the people that was around Ruthless [the record label started world of popular music, was destined to be an icon. by Eazy]. So, I just stayed the same, that’s all. Me and Dre still talk to this day. I just But today, we close a chapter of the A rtsw eek experience. Today is the day we actu talked to him yesterday. ally print an interview with an ex-compatriot of Eazy’s and have several of our most What do you think abopt how Ruthless Records is being handled right now? fantastic questions about Compton’s most notorious hip-hop thugsta answered. -
Reminder List of Productions Eligible for the 88Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 88TH ACADEMY AWARDS ADULT BEGINNERS Actors: Nick Kroll. Bobby Cannavale. Matthew Paddock. Caleb Paddock. Joel McHale. Jason Mantzoukas. Mike Birbiglia. Bobby Moynihan. Actresses: Rose Byrne. Jane Krakowski. AFTER WORDS Actors: Óscar Jaenada. Actresses: Marcia Gay Harden. Jenna Ortega. THE AGE OF ADALINE Actors: Michiel Huisman. Harrison Ford. Actresses: Blake Lively. Kathy Baker. Ellen Burstyn. ALLELUIA Actors: Laurent Lucas. Actresses: Lola Dueñas. ALOFT Actors: Cillian Murphy. Zen McGrath. Winta McGrath. Peter McRobbie. Ian Tracey. William Shimell. Andy Murray. Actresses: Jennifer Connelly. Mélanie Laurent. Oona Chaplin. ALOHA Actors: Bradley Cooper. Bill Murray. John Krasinski. Danny McBride. Alec Baldwin. Bill Camp. Actresses: Emma Stone. Rachel McAdams. ALTERED MINDS Actors: Judd Hirsch. Ryan O'Nan. C. S. Lee. Joseph Lyle Taylor. Actresses: Caroline Lagerfelt. Jaime Ray Newman. ALVIN AND THE CHIPMUNKS: THE ROAD CHIP Actors: Jason Lee. Tony Hale. Josh Green. Flula Borg. Eddie Steeples. Justin Long. Matthew Gray Gubler. Jesse McCartney. José D. Xuconoxtli, Jr.. Actresses: Kimberly Williams-Paisley. Bella Thorne. Uzo Aduba. Retta. Kaley Cuoco. Anna Faris. Christina Applegate. Jennifer Coolidge. Jesica Ahlberg. Denitra Isler. 88th Academy Awards Page 1 of 32 AMERICAN ULTRA Actors: Jesse Eisenberg. Topher Grace. Walton Goggins. John Leguizamo. Bill Pullman. Tony Hale. Actresses: Kristen Stewart. Connie Britton. AMY ANOMALISA Actors: Tom Noonan. David Thewlis. Actresses: Jennifer Jason Leigh. ANT-MAN Actors: Paul Rudd. Corey Stoll. Bobby Cannavale. Michael Peña. Tip "T.I." Harris. Anthony Mackie. Wood Harris. David Dastmalchian. Martin Donovan. Michael Douglas. Actresses: Evangeline Lilly. Judy Greer. Abby Ryder Fortson. Hayley Atwell. ARDOR Actors: Gael García Bernal. Claudio Tolcachir.