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(2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*
Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Pattern, the Visual Mathematics: a Search for Logical Connections in Design Through Mathematics, Science, and Multicultural Arts
Rochester Institute of Technology RIT Scholar Works Theses 6-1-1996 Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts Seung-eun Lee Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Lee, Seung-eun, "Pattern, the visual mathematics: A search for logical connections in design through mathematics, science, and multicultural arts" (1996). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. majWiif." $0-J.zn jtiJ jt if it a mtrc'r icjened thts (waefii i: Tkirr. afaidiid to bz i d ! -Lrtsud a i-trio. of hw /'' nvwte' mfratWf trawwi tpf .w/ Jwitfl- ''','-''' ftatsTB liovi 'itcj^uitt <t. dt feu. Tfui ;: tti w/ik'i w cWii.' cental cj lniL-rital. p-siod. [Jewy anJ ./tr.-.MTij of'irttion. fan- 'mo' that. I: wo!'.. PicrdoTrKwe, wiifi id* .or.if'iifer -now r't.t/ry summary Jfem2>/x\, i^zA 'jX7ipu.lv z&ietQStd (Xtrma iKc'i-J: ffocub. The (i^piicaiom o". crWx< M Wf flrtu't. fifesspwn, Jiii*iaiin^ jfli dtfifi,tmi jpivxei u3ili'-rCi luvjtv-tzxi patcrr? ;i t. drifters vcy. Symmetr, yo The theoretical concepts of symmetry deal with group theory and figure transformations. Figure transformations, or symmetry operations refer to the movement and repetition of an one-, two , and three-dimensional space. (f_8= I lhowtuo irwti) familiar iltjpg . -
Singles Chart-Chronology
Chart - History Singles All chart-entries in the Top 100 Peak:3 Peak:1 Peak: 1 Germany / United Kindom / U S A Donna Summer No. of Titles Positions LaDonna Adrian Gaines (December 31, 1948 – Peak Tot. T10 #1 Tot. T10 #1 May 17, 2012), widely known by her stage name 3 18 4 -- 213 30 -- based on her married name Donna Summer, 1 43 10 1 312 43 4 was an American singer, songwriter and 1 33 14 4 433 99 13 actress. She gained prominence during the disco era of the late 1970s. 1 52 19 5 958 172 17 ber_covers_singles Germany U K U S A Singles compiled by Volker Doerken Date Peak WoC T10 Date Peak WoC T10 Date Peak WoC T10 1 Lady Of The Night 09/1975 40 7 2 Love To Love You Baby 02/1976 6 20 8401/1976 4 9 12/1975 2 18 7 3 Could It Be Magic 06/1976 23 10 05/1976 40 7 05/1976 52 5 4 Try Me, I Know We Can Make It 10/1976 42 5 07/1976 80 4 5 Spring Affair 12/1976 52 7 6 Winter Melody 12/1976 27 5 02/1977 43 7 7 I Feel Love 07/1977 3 21 9707/1977 1 4 17 08/1977 6 23 5 8 Down Deep Inside (Theme From "The Deep") 10/1977 25 9 08/1977 5 10 5 9 I Remember Yesterday 09/1977 14 7 10 Love's Unkind 02/1978 18 9 12/1977 3 13 8 11 I Love You 12/1977 10 9 1 12/1977 37 11 12 Rumour Has It 03/1978 21 7 02/1978 19 8 03/1978 53 9 13 Back In Love Again 04/1978 29 7 14 Last Dance 06/1978 51 9 05/1978 3 21 7 15 MacArthur Park 12/1978 39 9 10/1978 5 10 4909/1978 1 3 20 16 Heaven Knows 02/1979 34 8 01/1979 4 19 5 17 Hot Stuff 05/1979 5 22 1205/1979 11 10 04/1979 1 3 21 14 18 Bad Girls 08/1979 9 15 11007/1979 14 10 05/1979 1 5 20 19 Dim All The Lights 10/1979 25 8 09/1979 -
"Authenticity" in Rap Music by Consumers."
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L. -
Ice Cube Kill at Will Mp3, Flac, Wma
Ice Cube Kill At Will mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Kill At Will Country: UK Released: 1990 Style: Gangsta MP3 version RAR size: 1110 mb FLAC version RAR size: 1582 mb WMA version RAR size: 1867 mb Rating: 4.4 Votes: 867 Other Formats: DTS MIDI AA MMF AU AU MIDI Tracklist Hide Credits Endangered Species (Tales From The Darkside) (Remix) 1 4:10 Music By – E. Sadler*, Sir JinxRap [Featuring], Words By – Chuck DRemix – Sir Jinx Jackin' For Beats 2 Music By – Chilly Chill, D-Nice, Digital Underground, EPMD, LL Cool J, Public Enemy, Sir 2:57 Jinx, X-ClanWords By – Del* Get Off My Dick And Tell Yo Bitch To Come Here (Remix) 3 3:40 Music By – E. Sadler*Remix – Sir Jinx The Product 4 3:35 Music By – Sir Jinx 5 Dead Homiez 3:56 JD's Gaffilin' (Part 2) 6 0:33 Words By – JD* I Gotta Say What Up!!! 7 3:05 Music By – Isac Hayes*, Sir Jinx Companies, etc. Phonographic Copyright (p) – Priority Records, Inc. Copyright (c) – Priority Records, Inc. Credits Executive-producer – Ice Cube Management – Pat Charbonnet* Producer – Chilly Chill, Ice Cube, Sir Jinx Words By – Ice Cube (tracks: 1 to 5, 7) Barcode and Other Identifiers Barcode: 042284 842822 Matrix / Runout: BRECD 572 Label Code: LC 0407 Rights Society: BIEM / STEMRA Other versions Category Artist Title (Format) Label Category Country Year EVL 7230 Ice Cube Kill At Will (12", EP) Priority Records EVL 7230 US 1990 Kill At Will (CD, Album, 378797 Ice Cube CD Media Records 378797 Russia Unknown Unofficial) Kill At Will (Cass, EP, E4V 7230 Ice Cube Priority Records E4V 7230 US 1990 Dol) Priority Records, V4 32733 Ice Cube Kill At Will (Cass, EP) V4 32733 Canada 1990 Virgin Liberation Records, D 14003 Ice Cube Kill At Will (CD, EP) D 14003 Australia 1991 Priority Records Related Music albums to Kill At Will by Ice Cube Hold Youth - Jinx Quarashi - Jinx Ice Cube - Greatest Hits Jinx - Inner Turmoil B. -
Intersectionality, Identity Politics, and Violence Against Women of Color Author(S): Kimberle Crenshaw Source: Stanford Law Review, Vol
Stanford Law Review Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color Author(s): Kimberle Crenshaw Source: Stanford Law Review, Vol. 43, No. 6 (Jul., 1991), pp. 1241-1299 Published by: Stanford Law Review Stable URL: https://www.jstor.org/stable/1229039 Accessed: 14-02-2020 16:18 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/1229039?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Stanford Law Review is collaborating with JSTOR to digitize, preserve and extend access to Stanford Law Review This content downloaded from 128.59.178.17 on Fri, 14 Feb 2020 16:18:28 UTC All use subject to https://about.jstor.org/terms Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color Kimberle Crenshaw* INTRODUCTION Over the last two decades, women have organized against the almost routine violence that shapes their lives.1 Drawing from the strength of shared experience, women have recognized that the political demands of mil- lions speak more powerfully than the pleas of a few isolated voices. -
THECLIP LIST.. Patit
AS OF APRIL 6, 1991 A SAMPLING OF PLAYLISTS AT NATIONAL VIDEO MUSIC OUTLETS. MUSIC VIDEO Billboard® Lists do not include videos in THECLIP LIST.. recurrent or oldies rotation. VIDEO TRACK NEW YORK f )TNN. ANGELES Wig LOS forthcoming KOOL MOE DEE's The Nashville Network Blacki Entertainment Television "Rise And Shine" video features Continuous programming Continuous programming 30 Hours Weekly IMAGO RECORDING CO. artists guest performances by Boogie 1515 Broadway, New York,NY 10036 1515 Broadway, New York,NY 10036 14 hours daily 2806 Opryland Dr, Nashville,TN Baby Animals linked with VIVID Down Productions' KRS -One and 1899 9th St NE, Washington,DC 37214 EXCLUSIVE ADDS 20018 Productions director Burk Uzzle to Public Enemy's Chuck D. Jim ADDS Morning," the debut vid- directed the clip, which Rolling Stones, Highwire Londonbeat, I've Been Thinking... reel "Early Swaffield Roxette, Joyride The Dells, A Heart Is A House For Love Rob Crosby, She's A Natural eo from the band's debut album on comes from the rapper's Jive album, Rod Stewart, Rhythm Of My Heart ADDS Ray Kennedy, Scars Sting, The Soul Cages VH -1 TO WATCH Highway 101, Bing Bang Boom this brand -new record label. Krista "Funky Wisdom." Joseph F. Nar- Keith Washington, Kissing You Joe Diffie, If The Devil Danced Nils Lofgren, Valentine Lisa Fischer, How Can I Ease The Pain Montagna produced the clip. delli produced for New Generation BUZZ BIN Davis Daniel, Picture Me Brand New Heavies , Dream... Lome Morgan, We Both Walk I OF THE Mark Freedman Productions di- Pictures. Divinyls, Touch Myself ARTIST MONTH Chubb Rock, Treat 'Em Right Vaughan Brothers, The Ballad.. -
The Collected Poems of Giorgio De Chirico
195 THE COLLECTED POEMS OF GIORGIO DE CHIRICO I Paris 1911-1915 1. Hopes1 Te astronomer poets are exuberant. Te day is radiant the public square flled with sunlight. Tey are leaning against the veranda. Music and love. Te incredibly beautiful woman. I would sacrifce my life for her velvet eyes. A painter has painted a huge red smokestack Tat a poet adores like a divinity. I remember that night of springtime and cadavers. Te river was carrying gravestones that have disappeared. Who still wants to live? Promises are more beautiful. So many fags are fying from the railroad station. Provided the clock does not stop A government minister is supposed to arrive. He is intelligent and mild he is smiling. He comprehends everything and at night by the glow of a smoking lamp While the warrior of stone dozes on the dark public square He writes sad passionate love letters. 1 Original title, Espoirs, published in “La révolution surréaliste”, n. 5, Paris 15 October 1925, p. 6. Te Éluard-Picasso Manuscripts (1911-1915), including theoretical writings and poems written in French and 29 drawings, constitute an essential testimony of de Chirico’s early theoretical and artistic considerations. (See J. de Sanna, Giorgio de Chirico - Disegno, Electa, Milan 2004, pp. 12-15). De Chirico arrived in Paris, from Florence, on 14 July 1911 and remained in the capital until late May 1915 when, called to arms, he returned to Italy with his brother Alberto Savinio. Initially in Paul Éluard’s collection, the manuscripts were later acquired by Picasso. Today they are conserved in ‘Fonds Picasso’ at Musée National Picasso, Paris. -
Welcome, We Have Been Archiving This Data for Research and Preservation of These Early Discs. ALL MP3 Files Can Be Sent to You B
Welcome, To our MP3 archive section. These listings are recordings taken from early 78 & 45 rpm records. We have been archiving this data for research and preservation of these early discs. ALL MP3 files can be sent to you by email - $2.00 per song Scroll until you locate what you would like to have sent to you, via email. If you don't use Paypal you can send payment to us at: RECORDSMITH, 2803 IRISDALE AVE RICHMOND, VA 23228 Order by ARTIST & TITLE [email protected] S.O.S. Band - Finest, The 1983 S.O.S. Band - Just Be Good To Me 1984 S.O.S. Band - Just The Way You Like It 1980 S.O.S. Band - Take Your Time (Do It Right) 1983 S.O.S. Band - Tell Me If You Still Care 1999 S.O.S. Band with UWF All-Stars - Girls Night Out S.O.U.L. - On Top Of The World 1992 S.O.U.L. S.Y.S.T.E.M. with M. Visage - It's Gonna Be A Love. 1995 Saadiq, Raphael - Ask Of You 1999 Saadiq, Raphael with Q-Tip - Get Involved 1981 Sad Cafe - La-Di-Da 1979 Sad Cafe - Run Home Girl 1996 Sadat X - Hang 'Em High 1937 Saddle Tramps - Hot As I Am 1937 (Voc 3708) Saddler, Janice & Jammers - My Baby's Coming Home To Stay 1993 Sade - Kiss Of Life 1986 Sade - Never As Good As The First Time 1992 Sade - No Ordinary Love 1988 Sade - Paradise 1985 Sade - Smooth Operator 1985 Sade - Sweetest Taboo, The 1985 Sade - Your Love Is King Sadina - It Comes And Goes 1966 Sadler, Barry - A Team 1966 Sadler, Barry - Ballad Of The Green Berets 1960 Safaris - Girl With The Story In Her Eyes 1960 Safaris - Image Of A Girl 1963 Safaris - Kick Out 1988 Sa-Fire - Boy, I've Been Told 1989 Sa-Fire - Gonna Make it 1989 Sa-Fire - I Will Survive 1991 Sa-Fire - Made Up My Mind 1989 Sa-Fire - Thinking Of You 1983 Saga - Flyer, The 1982 Saga - On The Loose 1983 Saga - Wind Him Up 1994 Sagat - (Funk Dat) 1977 Sager, Carol Bayer - I'd Rather Leave While I'm In Love 1977 1981 Sager, Carol Bayer - Stronger Than Before 1977 Sager, Carol Bayer - You're Moving Out Today 1969 Sagittarius - In My Room 1967 Sagittarius - My World Fell Down 1969 Sagittarius (feat. -
Patriotic Song : a Book of English Verse : Being an Anthology of the Patriotic Poetry of the British Empire from the Defeat of T
PATRIOTIC SONG PATRIOTIC SONG A BOOK OF ENGLISH VERSE Being an Anthology of the Patriotic Poetry of the British Empire from the Defeat of the Spanish Armada till the Death of Queen Victoria SELECTED AND ARRANGED BY ARTHUR STANLEY WITH AN INTRODUCTION BY THE RIGHT REVEREND J. E. C. WELLDON LORD BISHOP OP CALCUTTA LATE HEAD-MASTER OP HARROW SCHOOL A nd here the Singerfor his A rt Not all in vain, tnay plead ' The song that nerves a Nations heart, ' Is in itselfa deed. Tennyson. LONDON C. ARTHUR PEARSON, Limited 1901 THIS BOOK is to tfje OF THAT GLORIOUS COMPANY OF MEN WOMEN AND CHILDREN WHO HAVE GIVEN THEIR LIVES FOR ENGLAND^ SAKE 253290 EDITOR'S PREFACE THIS book is intended to be a representative collection of the patriotic poetry of the British Empire. I have taken a wide view of the term "patriotic" wide enough, indeed, to in- clude the Jacobite Songs of Scotland and the National Songs of Ireland. Many of my numbers breathe the spirit of war; for the national instinct is most deeply stirred in times of great national emotion. But I have aimed at making this volume something more than a book of war-songs, holding that a man may prove his patriotism as well at home in the pursuit of his daily business as on the battlefield in the presence of his country's enemies. Love of country is the root of the matter; and, after all, it is harder to live for one's country than to die for it. I gratefully acknowledge the debt I owe to authors and owners of copyright poems. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change.