New Year arrives in the Americas Every year for a century, a five metre light-studded crystal ball has descended above revellers in New York’s Times Square to officially mark the beginning of the new year. This year, singers Lady Gaga and Justin Bieber helped a estimated one million people kick off 2012 with New York mayor Michael Bloomberg looking on. Some New York revellers, wearing party hats and ‘2012’ glasses, began camping out on Saturday to get the best places. For security reasons, police closed off streets around Times Square and prohibited celebrants from bringing alcohol, backpacks, large bags or packages into the area.

In Brazil, two million people partied on Rio de Janeiro’s Copacabana Beach as an estimated 24 tons of fireworks were let off, launched from 11 boats. Light rain fell during the celebration, but it did not dampen the mood of the revellers as they watched the 16-minute display. Immediately after the countdown, the sky was covered with an intense green light.

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Organisers said the colour was chosen to highlight a large UN environment summit taking place in Rio in June. Following the fireworks, the crowd enjoyed a series of concerts on four stages spread throughout the Copacabana beach area.

Performers included international DJ David Guetta and Brazilian artist Beth Carvalho and Samba school Beija-flor. Over 1,500 police officers were on hand to make sure the celebrations were safe. More about: New Year celebrations, New York, Rio de Janeiro. نویسنده:: ٥:۱٤ ‎ق.ظ; شنبه ٢٤ دی ،۱۳٩٠ Hague says more reform needed in Myanmar A day after Myanmar’s leaders, Britain’s Foreign Secretary has met the main opposition figure, Aung San Suu Kyi.

William Hague presented her with the annual Chatham House prize which rewards someone the UK-based think tank believes has made the most significant contribution to improving international relations. Western countries are cautiously renewing ties with the civilian government in place since last March and Haguehas set out four conditions for the easing of sanctions. The new civilian administration quickly embarked on political and economic reforms last year, to the surprise of many, given the number of former junta officials in its ranks. As an independence day gesture 900 prisoners were released last week, but it s believed that only about a dozen of them, if any, were political prisoners.

Meanwhile up to 1,000 people from the 2007 anti-government protests remain behind bars. More about: Aung San Suu Kyi, Awards, British politics, Myanmar.

William Hutson is one/third of the band, He owns more Murder Dogs than you. I’m intensely suspicious of artists who don’t make rap, but nonetheless cite DJ Screw as an influence.

It’s especially so when the homage comes from somebody ostensibly “avant-garde.” About five years ago, when journalists were still enthralled by a series of increasingly fashionable internet music genres—Hypnagogic Pop, Chillwave, Witch House, Vaporwave—mentions of Screw began appearing regularly in articles about musicians who’d likely never heard a South Circle track played at normal speed. (1) The name-dropping contained a subliminally offensive implication: that Screw’s method of slowing down rap songs somehow elevated those rap songs—themselves crass, disposable products—into the realm of high art. This interpretation of Screw argued that, for example,.

(2) However, when played at ninety five percent of its original speed, “” was like the Marlboro Man to Screw’s Richard Prince. Screw tapes were presented as if they were completely separate from the gangsta rap community that Screw was a part of — allowing “intelligent” and “educated” people to listen to and appreciate them while retaining the privilege that accompanies “good taste.” His mixes were deemed post-modern commentary instead of documents of the underground scene that Screw participated in. But DJ Screw wasn’t Girl Talk, and the processing he applied to rap songs wasn’t a filter signifying ironic distance. He was an innovator who had a unique voice, distinct style, and he expressed that vision from within gangster rap, not outside of it. Worse were the music journalists who treated Screw as accidentally experimental—as if he weren’t conscious of what he was doing and that it took the discerning ears of critics to bestow the stamp of “outsider genius” upon him.

This scenario is common in the Poptimist era of rap coverage in mainstream music writing—Lil Wayne, Lil B, Gucci Mane, and now, Young Thug have all been victims of it. (3) This method of criticism insists that rappers don’t know when they are operating on an artistic cutting-edge. Therefore any writer who labels it thus, constitutes it as such. Acronis True Image Home 2009 Crack Keygen Patches. In this sense, the writer gets to fantasize he has somehow jointly authored the art, because its status as avant-garde is his doing. It’s an impulse shared with the gallery curator who spots the secretly-brilliant homeless painter on the street corner and makes him a star.

This maneuver also enforces an image of the artist as a rare genius surrounded by mediocrity. It insists that the writer has painstakingly sifted through thousands of unworthy rap artists to pick-out and “save” one true gem. But Screw wasn’t just a diamond-in-the-rough. The scene he was a part of was overflowing with brilliant activity—something the rest of the world witnessed a few years after his death with the increased success of UGK, Slim Thug, and Chamillionaire. Nor was Screw clueless about what he was doing.

He was a technician of significant craftsmanship, whose music spoke directly to the community he aimed it toward: those people buying grey cassette tapes through the grate on the front door of his south side Houston home. Bestowing the label of “experimental” and drawing connections to examples of slowness in other twentieth century musics (including drone, doom metal, and minimalism)—artistic lineages that have little to no influence on Screw, and whose similarities are superficial and coincidental—is patronizing and ahistorical. I agree with basically all of this but at the same time I’m a huge fan of experimental artists who are heavily into briefly sampling and looping screw tracks, and slowing down random stuff (speaking mostly of d/p/i aka HEATWAVE) but I understand exactly where you’re coming from, a lot of people don’t really understand the idea behind screws mixes. I think most people who really listen to his stuff eventually get it though. Also wanted to say slowing down chipmunks records was the first thing I did when I got my parents turntable hooked up in my room in 6th grade.