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Material Art from China
^ LACMA Hosts Annual Muse ’til Midnight Event Inspired by The Allure of Matter: Material Art from China WHO: The Los Angeles County Museum of Art (LACMA) hosts its annual Muse ’til Midnight event, an immersive late-night museum experience. This year’s Muse ’til Midnight draws inspiration from The Allure of Matter: Material Art from China (June 2, 2019–January 5, 2020) bringing together works from the past four decades, in which conscious material choice has become a symbol of the artists’ expression. The evening includes an exceptional musical lineup curated by independent record label Ninja Tune and internet radio pioneer dublab, featuring performances by acclaimed artists such as Actress, Octo Octa, Julianna Barwick, Yu Su, and many more. Additionally, site-specific sound and visual installations, inspired by materiality, will be on view. Performances are to take place at various locations throughout the museum. This year’s event includes after-hours access to several exciting LACMA exhibitions, including The Allure of Matter: Material Art from China; Beyond Line: The Art of Korean Writing; The Invisible Man and the Masque of Blackness; and Mary Corse: A Survey in Light. Hands on art-making activities, three performance stages, a cash bar, and food for purchase will be available during the event. Muse ‘til Midnight is presented by SHOWTIME® and Max Mara. WHEN: Saturday, September 7, 2019 7:30 pm–midnight Broad Contemporary Art Museum, Level 1 7:30 pm–midnight | Miracle Mile | Strange Loop Visuals 7:30 pm–8:30 pm | Yu Su (DJ Set) 8:30 pm–10 pm | Octo Octa (DJ Set) 10 pm–midnight | Actress (DJ Set) Broad Contemporary Art Museum, Level 2 8 pm–8:45 pm | Jeremiah Chiu (Live) 9 pm–9:45 pm | Ana Roxanne (Live) 10 pm–11 pm | Julianna Barwick (Live) 11:15 pm–midnight | Ki Oni (Live) Smidt Welcome Plaza 7:30 pm–8:45 pm | Maral (DJ Set) 8:45 pm–10 pm | HELLO DJ (DJ Set) WHERE: LACMA Smidt Welcome Plaza 5905 Wilshire Blvd. -
Statesman, V.49, N. 50.PDF
the stony brook Statesman -.~---~~~'---------------~~--~~-~---~- - ------- I--- ~~~---~--I-I---1- VOLUME XLIX, ISSUE 48 THURSDAY MAY 4, 2006 PUBLISHED TWICE WEEKLY Campus Wide UREA Celebration Impresses A L' Inits 5tn year, tne annuai celeoration or unaergraduate researcn and creativity was neic last week. URECA Celebration photos: ©John Griffin/Media Services Photography, Art Show photos: ©Jeanne Neville/Media Services Photography BY Sunr RAMBHIA and Sociology." Kudos goes to the Department of Bio- News Editor medical Engineering, which had the greatest number of abstract submissions, 25 in total. Last week, students had the opportunity to attend The main event of the Celebration was an ,all day the annual SBU Celebration of Undergraduate Research poster presentation session where students and faculty and Creativity. The event featured the work of students. were able to see type of research that goes on across involved in undergraduate research as well as activities campus all throughout the year. Some of the other in the arts. According to a recent press release issued by featured events included symposia held concurrently Karen Kernan, the Director of Programs for Research and by the Departments of English, History, and Psychology Creative Activity (as a part of the Office of the Provost), involving student oral presentations. Also,the College there were over 225 abstracts compiled in this year's. of Engineering and Applied Sciences held its annual book of Collected Abstracts. senior design conference comprising the two best senior the day's events to a close, the purpose and scope of the These 225 project descriptions represented over 300 design projects from each of the four major engineer- Celebration of Undergraduate and Creative Activities undergraduates in the various departments of"Anesthe- ing departments, Biomedical Engineering, Electrical was clear. -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
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. -
Bonobo's 'Kerala'
13:2 Autumn 19 MSMI https://doi.org/10.3828/msmi.2019.9 Living with Time-Space Compression: Bonobo’s ‘Kerala’ and ‘No Reason’ STE V EN SH AV IRO Living with Time-Space Compression Bonobo’s 2017 album Migration is about shifting identities and passages from place to place: the migratory movement of bodies through space and time. The music blends multiple styles and sonic motifs from around the world in order to produce a cosmopolitan vision of multiple cultures, mutually influencing one another and coexisting in harmony. But the music videos for several of the tracks on this album – particularly Dave Bullivant’s video for ‘Kerala’ and Oscar Hudson’s video for ‘No Reason’ – tease out and complicate our sense of what is at stake in the processes of globe-spanning migration. Under the regime of globalised capitalism, not all substances transport themselves in time and through space with the same degree of ease. Financial capital passes quickly and seamlessly over the entire globe, while human bodies are all too often boxed in, shut out or even exterminated. Bullivant and Hudson both use strikingly innovative formal means in order to explore the blockages in time and space that underlie and qualify Bonobo’s utopian vision. The British electronic producer known as Bonobo (Simon Green) released his album Migration in 2017. The album’s music is grounded in midtempo dance rhythms, but its sonic palette is diversified with touches of (so-called) ‘world music’. With such a soundscape, Bonobo might well be accused of musical tourism or colonialism. But I am willing to accept at face value Bonobo’s claim that the album is not primarily engaged in appropriating cool sounds from the developing world. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
NSR 006 CELPH TITLED & BUCKWILD Nineteen Ninety Now CD
01. The Deal Maker 02. Out To Lunch (feat. Treach of Naughty By Nature) 03. Eraserheads (feat. Vinnie Paz of Jedi Mind Tricks) 04. F*ckmaster Sex 05. Swashbuckling (feat. Apathy, Ryu & Esoteric) 06. I Could Write A Rhyme 07. Hardcore Data 08. Mad Ammo (feat. F.T. & R.A. The Rugged Man) 09. Tingin' 10. There Will Be Blood (feat. Sadat X, Grand Puba, A.G., O.C. & Diamond) 11. Miss Those Days 12. Step Correctly 13. Wack Juice 14. Styles Ain't Raw (feat. Apathy & Chino XL) 15. Where I Are 16. Time Travels On (feat. Majik Most & Dutchmassive) Nineteen Ninety Now is finally here and a Hip Hop renaissance is about to begin! The art form is brought KEY SELLING POINTS: full-circle through this groundbreaking collaboration • Long awaited debut album from Celph Titled, who between underground giant Celph Titled and production already has gained a huge underground following as a legend Buckwild of D.I.T.C. fame! Showing that the core member of Jedi Mind Tricks' Army of the Pharaohs crew and his own trademark Demigodz releases. Also lessons from the past can be combined with the as a part of Mike Shinoda's Fort Minor project and tour, innovations of the present, these two heavyweight his fanbase has continued to grow exponentially artists have joined forces to create a neo-classic. By • Multi-platinum producer Buckwild from the legendary Diggin’ In The Crates crew (D.I.T.C.) has produced having uninhibited access to Buckwild’s original mid-90s countless classics over the last two decades for artists production, Celph Titled was able to select and record ranging from Artifacts, Organized Konfusion, and Mic to over 16 unreleased D.I.T.C. -
Pre-Pedidos: 05 - Febrero - 2021
CLICK AQUÍ PARA VISITAR EL INDICE CON TODOS LOS LISTADOS DISPONIBLES * descuento del 9% para pedidos de este listado recibidos hasta el 12 - febrero - 2021 inclusive * solo en referencias con el descuento aplicado * PRE-PEDIDOS: 05 - FEBRERO - 2021 26.60 € RIVERETTE NORWELL - ILLUZIO (feat. ALPAR) 24.21 € RVRT016 LP DRONE / SYNTH-WAVE / Release: 08 - March - 2021 ESP KRAUTROCK A1 > lighter than the air *feat Alpar* First solo album from Budapest producer "Norwell", includes 2 collaborations with Farbwechsel Label head honcho "Alpar". Analogue synthwave, kraut, kosmiche, drone... A real journey! Illuzio was inspired by the A2 > outside welikn book "Mr. Vertigo" and especially by this part: "Deep down, I don't believe it takes any special talent for a A3 > tangerine trees person to lift himself off the ground and hover in the air. We all have it in us--every man, woman, and child-- and with enough hard work and concentration, every human being is capable of...the feat....You must B1 > illuzio *feat. Alpar* learn to stop being yourself. That's where it begins, and everything else follows from that. You must let B2 > trancer yourself evaporate. Let your muscles go limp, breathe until you feel your soul pouring out of you, and then shut your eyes. That's how it's done. The emptiness inside your body grows lighter than the air around you. B3 > contours Little by little, you begin to weigh less than nothing. You shut your eyes; you spread your arms; you let B4 > full circle rising yourself evaporate. And then, little by little, you lift yourself off the ground. -
To View Our Program Guide
EXECUTIVE DIRECTOR’S NOTE Greetings everyone, and welcome to Kaslo Bay Park! We are gathering in one of the most beautiful places on Earth and I want to thank the Ktunaxa Nation, as well as residents of Kaslo, for allowing us to use this land and for supporting this important yearly celebration in such a magnificent part of the planet. Also a very special thank you to each of you for joining us in making the Kaslo Jazz Etc Festival a unique experience that thrives when passionate people combine community with the arts. A lot of people have worked incredibly hard on this year’s celebration, and we can’t wait to share this weekend with you! When we were determining the performers for this year’s festival, it felt like we were taking a big step into new territory. Every year we take a chance with our programming and hope that people will see the value in experiencing these performers in such a unique setting. We put an emphasis on selecting musicians that would take everyone on a musical journey through all three days of the festival and I feel this year’s line-up will do just that. This festival is intended to be a full weekend experience, and as I write this today - we have sold more weekend passes than ever before. Thank you everyone for being part of this journey with us! I am hoping that this weekend will leave you feeling energized and inspired. In the words of past performer Mickey Hart “The feeling we have here — remember it, take it home and do some good with it” Watching people absorb the power of music is the greatest reward of this job for me. -
FESTIVAL SÓNAR EN VENTA Barcelona 16.17.18 Junio
18º Festival Internacional de Música Avanzada y Arte Multimedia www.sonar.es Barcelona 16.17.18 Junio FESTIVAL SÓNAR EN VENTA Se vende festival anual con gran proyección internacional Razón: Sr. Samaniego +34 672 030 543 [email protected] 2 Sónar Conciertos y DJs Venta de entradas Sónar de Día Entradas ya a la venta. JUEVES 16 VIERNES 17 SÁBADO 18 Se recomienda la SonarVillage SonarVillage SonarVillage compra anticipada. by Estrella Damm by Estrella Damm by Estrella Damm 12:00 Ragul (ES) DJ 12:00 Neuron (ES) DJ 12:00 Nacho Bay (ES) DJ Aforos limitados. 13:30 Half Nelson + Vidal Romero 13:30 Joan S. Luna (ES) DJ 13:30 Judah (ES) DJ play Go Mag (ES) DJ 15:00 Facto y los Amigos del Norte (ES) Concierto 15:00 No Surrender (US) Concierto 15:00 Toro y Moi (US) Concierto 15:45 Agoria (FR) DJ 15:45 Gilles Peterson (UK) DJ Entradas y precios 16:00 Floating Points (UK) DJ 17:15 Atmosphere (US) Concierto 17:15 Yelawolf (US) Concierto 17:30 Little Dragon (SE) Concierto 18:15 DJ Raff (CL-ES) DJ 18:15 El Timbe (ES) DJ Abono: 155€ Ninja Tune & Big Dada presentan 19:15 Four Tet (UK) Concierto 19:15 Shangaan Electro (ZA) Concierto En las taquillas del festival: 165€ 18:30 Shuttle (US) DJ 20:00 Nacho Marco (ES) DJ 20:00 DJ Sith & David M (ES) DJ Entrada 1 día Sónar de Día: 39€ 19:30 Dels (UK) Concierto 21:00 Dominique Young Unique (US) Concierto 21:00 Filewile (CH) Concierto En las taquillas del festival: 45€ 20:15 Offshore (UK) DJ Entrada 1 día Sónar de Noche: 60€ 21:15 Eskmo (CH) Concierto SonarDôme SonarDôme En las taquillas del festival: 65€ L’Auditori: -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.