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The BG News July 19, 2000
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 7-19-2000 The BG News July 19, 2000 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News July 19, 2000" (2000). BG News (Student Newspaper). 6663. https://scholarworks.bgsu.edu/bg-news/6663 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. PUT A LITTLE LOVE IN YOUR HEART: Wednesdoy, July 19 - Tuesday, July 25 ROMANCE CONFERENCE AT BGSU CLOUDY HIGH: 75 LOW: 55 mem 7 VOLUME 88 ISSUE 44 A WEEKLY INDEPENDENT STUDENT PRESS BOWIINC Gum Sun Umvmirr OPINION & EDITORIAL CAMPUS NEWS ENTERTAINMENT 2 Learn from the past 4 Find out what issues minority students face 8 Review the Third Eye Blind concert Diversity plan to benefit the campus University seeks to better social relations through education and organizing APRIL KI.I.IOI I items that the University will •prilk0bg|wt.bgM> «lii "The plan is to continue to work on well into THE BG HEWS ensure that we the future. If asked what the definition This new diversity plan of diversity was, what would you don't overlook any- reemphasizes the Board of say? Everyone would have a dif- one who can enrich lercnl response. Diversity is a student experiences Trustees resolution that reaf- word that encompasses a wide firmed their previous commit- variety of ideas. -
Osamu Kitajima Osamu Mp3, Flac, Wma
Osamu Kitajima Osamu mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz / Rock / Folk, World, & Country Album: Osamu Country: US Released: 1977 Style: New Age, Fusion, Jazz-Rock, Smooth Jazz, Prog Rock MP3 version RAR size: 1874 mb FLAC version RAR size: 1850 mb WMA version RAR size: 1607 mb Rating: 4.3 Votes: 849 Other Formats: AU AIFF MP1 MP3 DMF MP4 VOC Tracklist Hide Credits A1 Sui-In 1:03 A2 Frost Flowers 5:24 A3 Hear The Rain, See It Fall 6:03 A4 Endless Steps 3:52 Yesterday And Karma A5 4:59 Vocals – Minnie Riperton B1 Purple Hills And Crystal Streams 6:11 B2 Elemental Spirits 5:22 B3 Fur, Fin And Feather 7:11 B4 Sui-Yo 1:30 Credits Acoustic Guitar, Electric Guitar, Koto, Biwa, Vocals, Arranged By [Co-arragments] – Osamu Kitajima Acoustic Guitar, Electric Guitar, Mandolin, Arranged By [Co-arragments] – John Hug Art Direction – Deirdre Morrow Drums, Percussion, Arranged By [Co-arrangements] – Geoffrey Hales Electric Bass, Acoustic Bass, Arranged By [Co-arangements] – Dennis Belfield Electric Guitar, Arranged By [Co-arrangements] – George Marinelli Electric Piano [Fender Rhodes], Organ [Yamaha], Clavinet, Synthesizer [Arp Odyssey And String Ensemble], Keyboards [Chamerbain], Arranged By [Co-arrangements] – Brian Whitcomb Engineer [Sound] – Larry Hirsch Management – Jack Nelson Mastered By – John Denham Producer – Kinji Yoshino, Osamu Kitajima Shakuhachi, Arranged By [Co-arrangements] – Tatsuya Sano Notes While there are distinct tracks on this album the music on each side is continuous. Recorded and mixed at Paramount Studios L.A., CA., Feb. 3-Mar.28, 1977 Mastered at Randum Recorders, Burbank, CA. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Lenguajes Artísticos Y Vanguardias En La No Wave
UNIVERSIDAD DE LA LAGUNA. GRADO EN HISTORIA DEL ARTE. Lenguajes artísticos y vanguardias en la No Wave Trabajo Fin de Grado Adriana García Benítez 23/09/2014 Tutor del trabajo: Dr. Pompeyo Pérez Díaz. ÍNDICE 1. Metodología y objetivos. Pág. 3 2. Introducción a la No Wave . Pág. 5 a. Influencias de la No Wave . b. New Wave y No Wave . c. Donde se produce el encuentro: The Mudd Club. d. Fanzines. 3. La música de la No Wave . Pág. 19 4. El cine y los directores ( filmmakers ) de la No Wave : Pág. 24 a. Vivienne Dick. b. Beth B c. Susan Seidelman. d. Jim Jarmusch. e. Paul Auster. 5. No solo pintura: Pág. 35 a. Jean Michael Basquiat. b. Robert Longo. 6. Conclusiones. Pág. 40 7. Bibliografía. Pág. 44 2 METODOLOGÍA Y OBJETIVOS. Con el presente trabajo se pretende realizar una inmersión a las manifestaciones artísticas que se dan en el entorno No Wave de Nueva York entre los años 70 y 80. El objetivo principal es estudiar las relaciones que existen entre las figuras más relevantes tanto en artes plásticas como en música y cine. El título “Lenguajes artísticos y vanguardias” responde a una intención de establecer las colaboraciones y cruces entre las artes, ya que al tratarse de un movimiento heterogéneo, se puede y se busca estudiar diferentes artistas y objetos artísticos. Este aspecto, a nivel personal, es otro de los que nos convencieron para abordar este tema, ya que nos permite indagar en varias manifestaciones en lugar de centrarnos en una única expresión, así como en los artistas clave del momento y como encajan todos los elementos en un lugar y momento determinados. -
Haruomi Hosono, Shigeru Suzuki, Tatsuro Yamashita
Haruomi Hosono Pacific mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Pacific Country: Japan Released: 2013 Style: Fusion, Electro MP3 version RAR size: 1618 mb FLAC version RAR size: 1203 mb WMA version RAR size: 1396 mb Rating: 4.1 Votes: 218 Other Formats: AA ASF VQF APE AIFF WMA ADX Tracklist Hide Credits 最後の楽園 1 Bass, Keyboards – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 4:03 SakamotoWritten-By – Haruomi Hosono コーラル・リーフ 2 3:45 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノスタルジア・オブ・アイランド～パート1:バード・ウィンド/パート2:ウォーキング・オン・ザ・ビーチ 3 9:37 Keyboards – Ryuichi SakamotoWritten-By – Tatsuro Yamashita スラック・キー・ルンバ 4 Bass, Guitar, Percussion – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 3:02 SakamotoWritten-By – Haruomi Hosono パッション・フラワー 5 3:35 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノアノア 6 4:10 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki キスカ 7 5:26 Written-By – Tatsuro Yamashita Cosmic Surfin' 8 Drums – Yukihiro TakahashiKeyboards – Haruomi Hosono, Ryuichi SakamotoWritten-By – 5:07 Haruomi Hosono Companies, etc. Record Company – Sony Music Direct (Japan) Inc. Credits Remastered By – Tetsuya Naitoh* Notes 2013 reissue. Album originally released in 1978. Track 8 is a rare early version of the Yellow Magic Orchestra track. Translated track titles: 01: The Last Paradise 02: Coral Reef 03: Nostalgia of Island (Part 1: Wind Bird, Part 2: Walking on the Beach 04: Slack Key Rumba 05: Passion Flower 06: Noanoa 07: Kiska Barcode and Other Identifiers Barcode: 4582290393407 -
People Like Ourselves
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-20-2017 People Like Ourselves Harper D. Hair University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Painting Commons Recommended Citation Hair, Harper D., "People Like Ourselves" (2017). University of New Orleans Theses and Dissertations. 2408. https://scholarworks.uno.edu/td/2408 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. People Like Ourselves A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Fine Arts in Fine Arts By Harper Hair B.F.A. Kansas City Art Institute, 2010 December 2017 Table of Contents Page List of Figures………………………………………………………………………………...…..iii Abstract………………………………………………………………………………………...…iv Section 1…………………………………………………………………………………………...1 Section 2…………………………………………………………………………………………...9 Section 3………………………………………………………………………………………….23 References…………………………………….………………………………………………….59 Vita……………………………………………………………………………………………….61 ii List of Figures Page 1. -
Lessons from the Sony CD DRM Episode
Lessons from the Sony CD DRM Episode J. Alex Halderman and Edward W. Felten Center for Information Technology Policy Department of Computer Science Princeton University Abstract system called XCP that had been installed when he in- In the fall of 2005, problems discovered in two Sony- serted a Sony-BMG music CD into his computer’s CD BMG compact disc copy protection systems, XCP and drive. MediaMax, triggered a public uproar that ultimately led News of Russinovich’s discovery circulated rapidly on to class-action litigation and the recall of millions of the Internet, and further revelations soon followed, from discs. We present an in-depth analysis of these technolo- us,1 from Russinovich, and from others. It was discov- gies, including their design, implementation, and deploy- ered that the XCP rootkit makes users’ systems more ment. The systems are surprisingly complex and suffer vulnerable to attacks, that both CD DRM schemes install from a diverse array of flaws that weaken their content risky software components without obtaining informed protection and expose users to serious security and pri- consent from users, that both systems covertly transmit vacy risks. Their complexity, and their failure, makes usage information back to the vendor or the music label, them an interesting case study of digital rights manage- and that none of the protected discs include tools for unin- ment that carries valuable lessons for content companies, stalling the software. (For these reasons, both XCP and DRM vendors, policymakers, end users, and the security MediaMax seem to meet the consensus definition of spy- community. ware.) These and other findings outraged many users. -
The Big Day) – Hopefully More Well-Received Than Chance the Rapper’S Ill-Conceived Paean to Loving His Wife by Kenji Shimizu
Festivus 2020: TBD (The Big Day) – Hopefully More Well-Received than Chance the Rapper’s Ill-Conceived Paean to Loving His Wife by Kenji Shimizu Note to players: Two answers required. 1. After declaring “I like my rock and roll all the same,” the singer declares that he doesn’t “give a fuck” if he does either of these two actions in “Back to the Motor League” by Propagandhi. Kurgan quotes a line mentioning these two actions in a church scene in Highlander, referencing a 1983 song’s spoken-word intro in which that line follows the gibberish phrase “Gunter glieben glauten globen.” In a 1979 album’s final track, the second half of a line about these two actions is replaced by the album’s title, (*) Rust Never Sleeps. That line about these two actions is quoted at the beginning of Def Leppard’s “Rock of Ages” and in the closing statements of Kurt Cobain’s suicide note. For 10 points, the song “My My, Hey Hey (Out of the Blue)” by Neil Young declares that “it’s better to” do what action “than to” do what other action? ANSWER: burn out and fade away [accept “It’s better to burn out than to fade away”] 2. In reference to a song titled after one of these people, the Martin guitar company embedded a coin into 73 limited-edition guitars to commemorate the victim of a September 1973 plane crash. The twist that Marie is the narrator’s six-year-old daughter is the final piece of information given to a person with this job in Chuck Berry’s “Memphis, Tennessee.” The words of a person with this job are juxtaposed with several excuses given by Mrs. -
Leksykon Polskiej I Światowej Muzyki Elektronicznej
Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H. -
Of Producing Popular Music
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-26-2019 1:00 PM The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music Lydia Wilton The University of Western Ontario Supervisor Coates, Norma. The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © Lydia Wilton 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Wilton, Lydia, "The Elements of Production: Myth, Gender, and the "Fundamental Task" of Producing Popular Music" (2019). Electronic Thesis and Dissertation Repository. 6350. https://ir.lib.uwo.ca/etd/6350 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Using Antoine Hennion’s “anti-musicology”, this research project proposes a methodology for studying music production that empowers production choices as the primary analytical tool. It employs this methodology to analyze Kesha’s Rainbow, Janelle Monáe’s Dirty Computer, and St. Vincent’s Masseduction according to four, encompassing groups of production elements: musical elements, lyrical elements, personal elements, and narrative elements. All three albums were critical and commercial successes, and analyzing their respective choices offers valuable insight into the practice of successful producers that could not necessarily be captured by methodologies traditionally used for studying production, such as the interview. -
Cheap Speech and What It Will Do
Cheap Speech and What It Will Do Eugene Volokht CONTENTS CHEAP SPEECH ........................................... 1808 A. Music and the Electronic Music Databases .................... 1808 1. The New System .................................... 1808 a. What It Will Look Like ............................. 1808 b. Why It Will Look Like This .......................... 1810 2. How the New System Will Change What Is Available .......... 1814 3. Dealing with Information Overload ...................... 1815 4. Will Production Companies Go Along? .................... 1818 B. Books, Magazines, and Newspapers ......................... 1819 1. Introduction . ...................................... 1819 2. Short Opinion Articles and Home Printers ................. 1820 3. Cbooks and Books, Magazines, and Newspapers ............. 1823 4. How the New Media Will Change What Is Available .......... 1826 a. More Diversity . ................................. 1826 b. Custom-Tailored Magazines and Newspapers ............ 1828 5. Dealing with Information Overload ...................... 1829 C. Video (TV and Movies) ................................... 1831 II. SOCIAL CONSEQUENCES ..................................... 1833 A. Democratization and Diversification ......................... 1833 B. Shift of Control from the Intermediaries and What It Will Mean ...... 1834 1. Shift of Control to Listeners ........................... 1834 2. Shift of Control to Speakers: The Decline of Private Speech Regulations ......................................... 1836 C. Poor -
Yellow Magic Orchestra Computer Game (Theme from the Invaders) Mp3, Flac, Wma
Yellow Magic Orchestra Computer Game (Theme From The Invaders) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Computer Game (Theme From The Invaders) Country: Australia Released: 1979 Style: Electro, Synth-pop, Disco MP3 version RAR size: 1505 mb FLAC version RAR size: 1625 mb WMA version RAR size: 1202 mb Rating: 4.8 Votes: 701 Other Formats: DMF AC3 APE VOC WAV TTA ASF Tracklist Hide Credits Computer Game (Theme From The Invaders) (Edited Version) A1 0:22 Arranged By – Yellow Magic Orchestra Firecracker A2 3:13 Written-By – M. Denny* Technopolis B 4:13 Written-By – R. Sakamoto* Companies, etc. Phonographic Copyright (p) – A&M Records, Inc. Manufactured By – Festival Records Pty. Ltd. Credits Producer – Harry Hosono* Notes This is the regular black vinyl release, without picture sleeve. A side label states "From the Horizon Album "Yellow Magic Orchestra" L37005". Barcode and Other Identifiers Matrix / Runout (A Side): MX-55887(AMS 7502) Matrix / Runout (B Side): MX-55888(AMS 7502) Other versions Category Artist Title (Format) Label Category Country Year "Theme From The Invaders" Yellow Magic A&M AMS 7502 / Firecracker / Technopolis AMS 7502 UK 1980 Orchestra Records (7", Single) Computer Game (Theme Yellow Magic A&M AMS 7502 From The Invaders) (7", AMS 7502 UK 1979 Orchestra Records Single) Yellow Magic Juego De Computadora (7", A&M 11367 11367 Chile 1979 Orchestra Single) Records Computer Game (Theme Yellow Magic A&M New K7811 From The Invaders) (7", K7811 1979 Orchestra Records Zealand Single) Computer Game (Theme Yellow Magic A&M AMS 7502 From The Invaders) (7", AMS 7502 India 1979 Orchestra Records Single) Related Music albums to Computer Game (Theme From The Invaders) by Yellow Magic Orchestra 1.