Tuesday, August 26, 2008

The Importance Of Using Pop Culture References When Writing Rap And Hip-Hop Lyrics

One of the most common techniques used by signed artists when writing rap and hip-hop lyrics is to use pop culture references. Study any artist's lyrics and you'll find cultural references scattered throughout their verses. A pop culture reference is when an artist 'name checks' something that is part of modern day culture usually by way of metaphor or simile. There are many examples of what references to use eg sports stars, videogame characters, and television characters etc, basically anything that your audience may be familiar with. Here are two examples and with each one the cultural reference is underlined and explained:

'When I stroll through the hood kids don't dare jump me,
Coz I'm tougher than M Bison on level nine difficulty,'

Anyone whose played videogames in the last ten years knows that M Bison is the last boss of Street Fighter 2, and a particularly tough one at that. This line states that I'm tougher than him on the maximum difficulty setting. Using this line will make the listener think 'yeah, I remember him! wow that's clever!' and grab their attention. Here's another example:-

'I'm a Dope MC, the killer punch thrower,
Knocking you out like I'm Rocky Balboa,'

This line references the famous fictional boxer Rocky Balboa. Again this line will catch people's attentions due to the fact that everyone knows who he is!

Below is a list of pop-culture references that will go down well when writing rap and hip hop lyrics:-

-TV and Film: eg TV and film characters, locations, shows etc

-Celebrities: eg celebrities and what they get up to

-Music: eg artists and songs

-Videogames: eg videogame characters, locations, vehicles etc (see the first original example)

-Literature: eg characters and events from novels, comics etc

-Historical People/Events: eg various people and events from the past eg The Vietnam War,

-Sport: eg sports starsteamsvenues

-Political Figures: eg people involved in politics

-Landmarks: eg famous landmarks and places

-Companies and Businesses: eg famous companies and brand names

It's hard to pin point exactly why they work well in rap and hip hop lyrics, but it seems that hearing something mentioned in someone's lyrics that you personally know about just seems to grab your attention. One TV program which is well renowned for its use of pop culture references is Family Guy. Every episode is packed with references to pop culture ranging from Star Wars characters to famous celebrities. This is why the show works so well. If you really want to write commercially successful raps then it's important that you use these in your raps so the audience can connect with you.

It's important to note that you should use cultural references that your intended listening audience will understand. If you're writing commercial hip-hop which is aimed at teenagers then referring to an obscure seventies TV show will not work well as they won't understand what you're referring to. On the other hand if you're writing intelligent hip-hop it would work better as you'll be writing for a mature older audience. Also the same applies to location. If you're a British emcee you should stick to British cultural references as your target audience will appreciate them more. There's no point name checking that famous ice hockey player as most British people won't be aware of him!

Where to Find Effective Cultural References

Anyone raised in a certain culture will already have a wealth of references available to use, but then again you're limited by what you know. Someone who isn't really into sport will not know much on the subject and therefore won't be able to use as many sport related cultural references as other emcees. Remember the wider the range of cultural references you use the more people you'll be able to connect with. The best place to find potential pop culture references by far is the website www.wikipedia.org.

For those of you don't know Wikipedia is an online encyclopaedia where anyone is allowed to update the pages. It contains articles on just about anything. By looking through this you can find everything you need to know on just about everything- from pop star's controversies to TV program characters! I normally have a Wikipedia session every week where I grab my rhyme book then start browsing through Wikipedia looking for any 'references' I can use in my rhymes. When I do find something interesting I make a note of it in my rhyme book. I don't always come up with full bars, but the important thing is the ideas and punches are there. I normally come back later and turn these ideas into full bars. I can then use these bars when I come to write full rap verses.

Stay tuned for more articles on writing rap and hip-hop lyrics

Jason Tyler is a writer and poet from England who holds a BA in English Language and Literature. He's recently made a name for himself by devising a completely new type of rhyme dictionary which will have you writing better rap lyrics in no time. The resource also includes the Rhyme-Time Rap Skills Guide which contains many unorthodox techniques that will turn you into a world class emcee in no time at all!

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The Value Of Learning A Musical Instrument

It's very important for everyone to have an outlet of some sort, particularly to alleviate stress. Athletics, art, and playing a musical instrument are all fantastic outlets for stress.

For most people who remember their teenage years may remember how truly challenging and stressful they really were! With all the many emotional and physical changes that occur during this awkward time in life can be difficult to deal with, to say the least.

For this reason, it is extremely important for teenagers to have an outlet! Being involved in sports, doing art, or playing guitar or drums are certainly better outlets than watching television or just listening to music. Mainly because the first three require right brain activity.

If you are a teenager, or a full grown adult, I encourage to find something that you enjoy to manage stress. We all know stress can take years off your life, and managing it is critically important!

If you are already involved in a sport, then good for you. If not, it may be difficult to break into one at this point.

Most people who are excelling in a particular sport typically have been involved in it since elementary school. Given that fact, joining a team at this stage may be rather intimidating! But, that's not to say you can't get involved in a sport at your local YMCA.

They usually have something going on that is open to their members who simply just want to have fun and burn off some stress.

If you are involved in art, then again, good for you! It seems art is something one truly enjoys if he or she is good at it. Those who are not good at it typically will not stay with it for long. It's like anything, though... the better you are at something, the more you tend to enjoy it. And the reverse is true as well... the more you enjoy what you're doing, the better you will become at it.

Playing a musical instrument is in a different realm altogether. Opportunities abound practically for anyone that didn't have an interest as a child (as opposed to playing sports). And, unlike art, learning to play a musical instrument such as the drums, guitar, keyboard, or a wind instrument may open many doors of opportunity like possibly joining a rock band, jazz band, or a marching band. Also you may be able to participate in local theatre and competitions.

Learning to play a musical instrument is linked to improved coordination, higher concentration levels, improved language skills, improved social skills, improved memory skills, and higher test scores.

So, if athletics or art are activities you are not too excited about, give a musical instrument a try. There are schools and music teachers who offer lessons for people of any age and skill level. There are also numerous books that are self-teaching, which will give you basic instruction to help you get started.

Danny Brown has been drumming since 1976, and is the author of "The Ultimate Guide to Choosing Drums and Cymbals" Subscribe to his Free Newsletter and learn the mental aspect of drumming! Find out what it really takes to truly be a great drummer... http://www.dbDrumTips.com

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Advertainment is Sneaking Into Music, Movies, TV and More

The very name "advertainment" sends thrilling vibrations up the spine of anyone with marketing in their blood or communication in their genes. And it produces a strong shiver of disgust from many of my colleagues in the music industry.

"I don't want my songs to be involved in advertising," they say, forgetting entirely that by wearing branded running shoes, a t-shirt hawking Fender guitars and a baseball cap emblazoned with the Peavey logo, their very lives are involved in advertising. Plus, if they attend an awards show, they happily state the brand and designer names of everything they're wearing.

They further ignore the fact that radio itself is a form of advertainment. What gets played has little to do with musical accomplishment or artistic merit, but is directly related to the backing of large corporate distributors. I have been told to budget anywhere from a quarter of a million dollars to $350,000 in promotional costs to obtain national radio play on (the appropriately-named) commercial radio stations. Is it any wonder that corporations are seeking ways to build a little brand awareness into the songs?

Turn on any rap, urban or hip hop station and you can start counting the product mentions in the lyrics, some paid-for, some just happenstance. In the electronic-pop field, I have done it myself. On my "Electro Bop" album are songs such as "Paranormal Radio" (which begins as a documentary about American Technology Corporation's HyperSonic Sound system), "Sheena Sez" (about talk radio host Sheena Metal), and "Check the Tech" (about the joys of watching the TechTV channel).

Has this advertainment hurt acceptance of the album? Not that I've noticed. Many e-mails from around the world cite "Paranormal Radio" as their favorite track. Not one person has complained about the ad messages, I assume because the audience for my dance-oriented music is pleased to receive information about technology and a far-out rock-talk jock such as Ms. Metal.

Ads and entertainment go hand-in-wallet in many other ways, some pretty strange. In music alone, we have all wondered about Bob Dylan's "Love Sick" in Victoria's Secret commercials (not to mention Mr. D himself smirking between shots of the lovely bodies wearing the lingerie). But don't overlook Keith Richards in the "Cover Girl" ad while "Honky Tonk Women" plays, or Willie Nelson's "Red Headed Stranger" in the Herbal Essence spot, or Iggy Pop's liquor/drug/sex-soaked "Lust for Life" blasting throughout the Royal Caribbean commercials. (Love to work with the Account Executive who was able to sell that concept!) By contrast, Sting crooning from the back seat of a Jaguar seems a very model of demographic compatibility.

And that's the point: ads and public relations are routinely dismissed as silly, annoying, intrusive or a waste of time right up to the moment when they are delivering facts the reader or listener wants. Then, suddenly, the sponsored message is viewed as helpful and instructive. Therefore, the trick is to achieve the right match between audience and message.

One problem is choosing your media. Just listing advertising outlets can be daunting: TV, radio, outdoor, newspapers, magazines, transit, direct mail, Internet banner. Many of these have subsets: paid inserts (advertorial) in newspapers and magazines, sponsored "newsbreaks" and infomercials on broadcast media, static or animated announcements at stadia, those dreaded 'Net pop-ups, brand names on sports uniforms and equipment (can you say NASCAR?), etc.

One of the most enjoyable categories for producers of both music and advertising is viral 'Net marketing, which has had some notable success stories such as BMW Films, the Seinfeld AmEx campaign, and of course, Burger King's Subservient Chicken.

We haven't even considered cooperative advertising, which can be anything from myriad logos at the bottom of an event poster to the branded music tones and flashing-light Intel trademark that ends every other commercial for someone else's computer products.

But it extends further. Consider: Magazines that sell cover stories; product placement in movies and TV (and yes, live theater); branded clothing; bumper stickers; even fliers stuck on parked cars. There are ad messages on private automobiles (and those anti-humanistic trucks that some insist are called SUVs). Pull up behind a vehicle in traffic and you can read an ad for the car dealership on the license plate frame, plus another piece of public relations for the state on the plate itself. (Come on, you don't think it's hype to put "Land of enchantment" on every vehicle licensed in the state of New Mexico?)

You might think that this plethora of options makes it easier for firms to get their messages across to their targeted demographics, but a good case can be made for the opposite view. TV audiences are turning to Tivo and pay-per-view. Radio audiences are discovering XM and Sirius Satellite Radio. Newspaper readership is becoming an oxymoron. Motion picture audiences can be heard groaning, mocking or booing the pre-feature commercials.

This means there are a lot of people working on new ways to get the product benefits into the brains of the consumers. I do it with humorous radio scripts and subliminally seductive music, but there are going to be some innovations in our industry, and at the risk of appearing foolish, I'm going to make a few predictions. Within the next few years, we'll see:

* Debit card scanners in TV sets, so you can order during a commercial with the flick of your remote.

* Barcodes in songs, so you can download from iTunes by swiping your XM or Sirius player with your Visa or MasterCard.

* Credit cards built into wristwatches, so your "plastic money" is always close at hand.

* Links to product sites in every scene of DVD movies or computer games. Do you want the shoes in the Tony Hawk Pro Skater game? Click-click-click and they're on their way to you via FedEx (note product placement for the big competitor to United Parcel Service).

* Broadcasts of infotainment and advertainment will pop up everywhere: in public restrooms, at the Starbucks, at traffic signals, at the gas pump, on your mailbox, in the packages you purchase, in the parcels that arrive at your door, etc.

* Captive broadcasts. Just as you can preview the music on packaged CDs (available in EU now, but coming soon to the USA), the product benefits, price points and warranty information will play as soon as you lift up a product in the store.

* Digitized logo placement in the rebroadcasts of syndicated TV shows ("Hey, we can sell the product placement another three times!")

* Branded ingredient lists on menus.

* Corporate artwork that takes you on a virtual tour of the company.

* Interactive ads, where you get to play Jerry Seinfeld and/or Superman (or the driver of the BMW) in a five-minute escape from reality (and from reality TV).

* Holographic projections of commercials from postage stamps, car and house keys, magazine covers and ad pages, etc.

And these are just the changes we'll be seeing in the next few years. We're not even discussing the opportunities for advertainment once we move beyond traditional broadcast methodology; when microchips are embedded under your skin, YOU will be the receiver for TV, radio, satellite, telephone, and global positioning system signals. And at that point, the possibilities for marketing communication via advertainment are going to become truly mind-boggling.

Are these prospects exciting, frightening, or both? My view is positive. After all, a lot of these new forms of communication are going to need my scripts and my music.

# # #

Scott G is president of G-Man Music & Radical Radio. His music is on commercials for Verizon Wireless, Goodrich, Monaco Motor Coaches, BAE Systems and more. A creative director of the National Association of Record Industry Professionals (NARIP) and a member of The Recording Academy (NARAS), he writes about music for MusicDish.com and the Immedia Wire Service. The G-Man's albums are released by Delvian Records and are on Apple's iTunes. He can be reached via http://www.gmanmusic.com.

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Taste Your Way Through NYC at Tapas Top Ten

As film actress Gwyneth Paltrow and Chef Mario Batali are touring Spain seeking the best Spanish tapas and seafood dishes as part of a new reality television show, here in New York we don't even have to leave the city to experience this significant segment of the culinary culture of Spain.

"Tapas," "small bites," "pintxo," "cichetti," and now "stuzzichini": no matter how you say it, New York is definitely in the throes of a love affair with small dishes, usually accompanied by a wine from the appropriate region. Although the cost of these small plates can add up quickly, especially while sitting at a bar with a best buddy, most tapas menus sport combination plates, which often represent a great value. Share a couple of these and a bottle (or carafe, quartino, mezzo, flight) and it's a great way to spend an evening.

Here are my suggestions for ten Tapas Bars and Restaurants Deals in New York City:

1. Sangria 46

This Spanish newcomer is receiving raves from theatergoers and neighborhood diners alike for its authentic Spanish cuisine as well as its lovely backyard garden. Choose from the extensive Tapas menu, or order from the Pre-theater menu, which features several choices, including Vegetable Paella, Mussels Diablo, and Churasco (skirt steak). Three courses for $26.95 are served all day and evening.

2. Costa del Sol

Taking its flavors from Northwest Spain's Galicia region, the menu at Costa del Sol is filled with true Spanish dishes. Fans may not be able to agree on their favorites, which include Paella Valenciana with Lobster, Bacalau (codfish) with Green Sauce and Asparagus Puree, and the Madrid NY Sirloin and Lobster Tail combination.

But, most agree that being just on the fringe of the Theater District has saved this restaurant from the cliched themes of many of the more central theater spots. The Tapas menu is also authentic and varied, and you can enjoy a great DiningFever deal of 15% off the entire check.

3. Sol y Sombra

Fast becoming a neighborhood favorite, this Upper West Side newcomer offers a large selection of tapas, both hot and cold, and authentic Spanish entrees as well.

It's easy to design a great meal of small plates to share, and many say the Pulpo a la Gallego (Galician-style Octopus), the Queso Manchego accompanied by raisin bread and sliced apples and the Codorniz En Escabeche (marinated quail presented with mixed salad and roasted figs) keep them coming back for more. Enjoy this exclusive offer from DiningFever - 15% off entire check.

4. Azafran

Both international guests and neighborhood fans alike have hailed Azafran and its ever-changing menu as one of New York's top Spanish restaurants. Drawing inspiration from the many diverse culinary regions of Spain, Azafran's specialties feature a unique brand of authentic Tapas as well as upscale Spanish cuisine. Enjoy Azafran's cool ambiance and outstanding food and save up to 25% with DiningFever's exclusive special offer.

5. Bar Stuzzichini

As the newest hot spot in the Flatiron District, Bar Stuzzichini has been packing them in all summer, and its long marble-topped bar is the perfect place to try the bite-sized appetizers for which the restaurant was named.

At this Italian casual dining restaurant, stuzzichini are divided into five categories on the menu: Friti, Verdure, Formaggi, Pesce and Salumi; individually, they are priced at approximately $5.00 - $10.00, but order plates of five choices for $22.00. Two of these and a dessert with a bottle or quartino from the all-Italian wine list and you've got a delicious meal for two.

6. Matador Bistro Latino

Contemporary Spanish and Latin cuisines mix with Asian and Middle Eastern influences to create Matador's eclectic Tapas menu. Located on Greenwich Avenue in the West Village, Matador Bistro Latino is offering individual dishes ranging in price from $3.00 to $9.00, but for real lovers of Latin food, we recommend the Plato de Charcuteria y Queso, a mixed platter of meats, cheeses and olives, for only $14.00. Stay for dinner and take 20% off your food bill and enjoy a complimentary glass of Sangria with an exclusive offer from DiningFever.com.

7. Alta

The all-Tapas menu is extensive and features creative and unusual dishes. Bring some friends to Greenwich Village, snag a table or a couple of bar seats and share a bunch of the small plates, which range in price from $3.00 for Marcona Almonds to $14.00 for Sauteed Fois Gras. A moderately priced bottle of wine from Italy, Spain or France and a couple of desserts (don't miss the plate of five Spanish cheeses for $12.00) complete this relatively inexpensive (and sabrosa!) meal.

8. Antique Garage

At this romantic Soho spot (Mercer St. bet. Grand & Broome St.), the culinary influences are described as French, Italian, Turkish and "modernized Ottoman cuisine." The owners invite you to "fill your table with several small plates from the Meze section," which features two combination platters: a selection of meats and cheeses and a sampling of meze including humus, tzatziki, eggplant salad, circassian chicken and borek, $24.00 per platter. Sunday through Tuesday evenings, take 15% off with a DiningFever exclusive.

9. I Trulli Enoteca

Adjacent to I Trulli Ristorante is its tiny offshoot, I Trulli Enoteca. The small Enoteca menu features a well-chosen assortment of meats, cheeses, and olives from Italy's Apulian region. Choose three ($18.00) or five ($24.00) and be sure to pair it with one of several flights of three wines, ranging from $11.00 to $18.00.

10. La Bodeguita

Someday we'll be allowed to visit Cuba; until then, luckily, there's La Bodeguita! At this Cuban Tapas Lounge in the Gramercy Park area, you can certainly create a delicious feast from the extensive assortment of Tapas, but try to save room for one of La Bodeguita's authentic Cuban entrees, complimented, of course, by a pitcher of Sangria or a selection from the mostly Spanish wine list.

Although Tapas originated in Spain, where "there are as many variations of Tapas as there are cooks," according to an article in globalgourmet.com, today it seems that every country's cuisine is well-represented. Italian, Indian, Turkish, and of course Spanish and Latin restaurants have all added a selection of small plates to their menus, taking what began as "bar food" to a whole new level. Now, more and more, restaurant patrons are creating their own meals from a combination of these dishes, and restaurant owners are taking note and making their selections more extensive and appealing.

Amy Arthur is the content editor of the website, blog and newsletter of DiningFever the ultimate FREE source for the best and most attractive restaurant deals in New York City

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The History of St. Louis Imperial Swing Dancing

There are a total of eight swing dance clubs located in and around the St. Louis area (including M.U.S.I.C. in Collinsville, Illinois) that are members of the Midwest Swing Dance Federation, and all of these clubs are descended from the St. Louis Imperial Dance Club that was founded in 1973. The largest of these sister clubs, the West County Swing Dance Club, has the distinction of being one of the largest swing clubs in the United States with an active membership that totals more than a thousand dancers.

Imperial Swing got its name from the Club Imperial located at Goodfellow Boulevard and West Florissant Avenue. The building, originally called Imperial Hall, was built in 1928 as a dance hall, bowling alley and restaurant/bar complex. In the 1930s and 1940s, it was the dance spot of Northwest St. Louis, just as Arcadia (later called Tune Town), the Admiral Showboat in Midtown, and the Casa Loma on the Southside, were the most popular dance halls in their respective areas. In 1952, George Edick Enterprises purchased Imperial Hall and George Edick renamed it the Club Imperial. During the early part of that decade, he operated the club as a ballroom with the theme of "a nice place for nice people." He played "big band" music and catered primarily to private parties. He was able to regularly book guest appearances with popular performers like Stan Kenton and Louis Prima because Robert Hyland, of CBS and KMOX radio, broadcast his weekly "Coast To Coast with Bob Hyland" program from the Imperial Ballroom.

During the late 1950s and early 1960s, Edick realized that the country's taste in music had shifted to "Rock 'n Roll" and he used his advertising-public relations firm, to aggressively promote the Club Imperial on KWK, KXOK, WIL and WGNU. The Joe Bozzi Quintet, Jimmie (Night Train) Forrest, Chuck Berry, Dolly Parton, the Monkeys, Glen Campbell, Ike and Tina Turner and a small vocal group now called the "Fifth Dimension" are among the many artists who began their careers at his club. He promoted a "Jitterbug" contest where a couple from the Club Imperial (Teddy Cole and Kathy Burke) won the National Jitterbug Championship. During the "Rock 'n Roll" craze, Edick held Tuesday "Teen Night" dances, and it was during these weekly dances that a jitterbug variation that became known as the "Imperial Style" of St. Louis swing was born. As the 60s progressed, music trends were changing again. The 'roll' started dropping out of "Rock 'n Roll," the 'rock' got harder, and the teenagers increasingly attended loud, psychedelic music concerts. Because the freak-out beats of their acid rock music was almost impossible to dance to, Edick gradually discontinued all public dances at his club.

In the 1970s, George Edick wanted to reintroduce more listenable and danceable music at Club Imperial and he found that hosting swing contests was just the ticket! He got together with Teddy Cole, the Jitterbug champion who was also a dance promoter in his own right, and they decided to sponsor a yearly St. Louis Jitterbug Contest "Imperial Style" to pick a "City Champion." These widely publicized contests prompted many of the older, experienced dancers to come around the club again, and Edick sponsored a number of "Salute Dances" to introduce these old timers to the newer dancers. As more and more people began learning the Imperial, they began organizing into small dance groups that met in apartment complexes around the St. Louis area, and George Edick kept in touch with many of their leaders.

In 1973 Al Morris conceived the idea of forming a club, and it was his group that first met at the San Miguel apartments in St. Charles which became the St. Louis Imperial Dance Club. The founders are: Dave Cheshire, Jan Cheshire, Rick McQueen, Joan Fritz, Debbie Dustman (Wheelis) and Veronica Lynch. The new club alternated their dances between Lynch's apartment complex in South County and the Wood Hollow apartments in West County. Edick contacted the Board and he told them that he was very interested in helping their club to fulfill their mission to keep swing dancing alive. The great promoter convinced them, with a persuasive new adaptation of his original 1950s theme, that their growing club should hold their future dances at his Club Imperial ballroom because it's "a nice place for nice people who like to swing dance!"

Good mottos never die but unfortunately people do, and on June 11, 2002 George Edick passed away. The building is silent now but it stands, not only as a landmark where Imperial Swing all began, but also as a tribute to a man who, over his colorful, eighty-six-year lifetime, was able to convert his dreams into reality . . . not a bad epitaph!

Copyright 2008 Skip Culver, Certified Swing Instructor. Member of the West County Swing Dance Club and author of the manual: "Imperial Swing Dancing" (visit: http://www.ImperialSwing.com)

Henry H. "Skip" Culver, Jr. is a member of the West County Swing Dance Club in St. Louis Missouri. He is a Gold Seal Instrument Flight Instructor and the author of the bestselling book on navigation titled: IFR 'Pocket Simulator' Procedures. In 2000 Skip turned his attention from aviation towards the dance floor. He became a Certified Swing Dance Instructor in 2004, and then with over seven years of detailed notes from various classes and workshops in hand, he began assembling the Imperial Swing Dancing manual which he published in June of 2007. Skip is a frequent contributor of articles on swing dancing to different club newsletters throughout the United States.

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Origin of Erik Satie's "Gnossiennes"

The 'trois Gnossiennes' (1890) is a set of dance-like pieces of similar character, like the earlier composed 'trois Sarabandes' (1887) and 'trois Gymnopdies' (1888). The 'trois Gnossiennes' were first published by Satie as a set through Rouart, Lerolle & Cie. in 1913.

The Gnossiennes continue in the minimalist style of the Gymnopdies but add ornaments that give the pieces a destinctly oriental feel. Although the pieces are obviously composed in a 4/4 time signature, Satie did not indicate it in the score. He also omitted barlines, leaving one big "bar" for the entire piece. This gives the impression of great freedom for the pianist. The comments written above the score, like 'Du bout de la pense' (from the tip of the thought) and 'Postulez en vous mme' (wonder about yourself) also give much room for interpretation. This has proven to be true since there are few pieces in piano literature that have been interpretated in such diverse ways as the Gnossiennes.

The name 'Gnossiennes' can be explained in multiple ways. The ancient Greek word for 'knowledge' is 'gnosis'. Gnosticism was the name of a religious-philosophical belief which has its origins in Greek philosophy as well as early Christian and Jewish Apocalyptic thoughts. In this belief 'Gnosis' stands for 'True knowledge', which is supposed to lead man to true emancipation. Gnosticism also played a great role in the beliefs of Josphin Pladan's (1859-1918) 'Rose et croix' sect. Satie's collaboration with Pladan led him to take an interest in partly-heretical views. It is possible that the title of these works is an hommage to gnosticism.

The most common explanation however is that the title refers to the ritual dances performed by the inhabitants of the island of Crete, with its capitol city Knossos, famous in Greek mythology for the story of its labyrinth, Theseus and the minotaur. In 1890 Crete was in the news because of archeological excavations. Other works by Satie from the same period were named after dances as well. Namely the 'Sarabande', a dance which was first introduced in Portugal in 1586 and the 'Gymnopdie' which has its origins in ancient Sparta. Even so, it is very unlikely that Satie, a member of the 'Rose et croix' from 1891 to 1892, was unaware of the gnosticism relation when the second Gnossienne was first publicly performed in 1893.

In 1967 french composer Robert Caby (1905-1992) revealed many of Satie's posthumous and often untitled works, taken from sketchbooks and manuscripts. He named three of these pieces Gnossienne. These became Gnossienne 4, 5 and 6 respectively. The piece known as the fourth Gnossienne was composed in 1891, the fifth in 1889 and the sixth in 1897. These pieces were first published in 1968 by ed. Salabert.

Joffrey Wallaart started the Piano Society website to give the public easy access to classical piano music.

http://www.pianosociety.com

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Is Your Business Music Legal?

Music is so common and widespread in our culture that frequently many of us take for granted the right we have (or think we have) to play it. Most people fail to realize that a legal license is required by law to play any copyrighted music.

Copyrighted Music

So what constitutes copyrighted music? The majority of music (if not all of it) that you hear is copyrighted, which means an individual or group of individuals hold the exclusive right to copy, license, or otherwise use a musical work. Generally those individuals are the people who created and produced the music. Whether it is from the radio, on a CD, or legally downloaded in the form of an MP3 file, the music is copyrighted. Companies (namely retail businesses and corporations with on hold music) are not allowed to play music from compact discs, the radio, or anything other media form for their clients and customers without obtaining the proper licenses first. This means one cannot simply hook up the radio, MP3 player, or a CD to play for customers; doing so will make you liable and result in unnecessary lawsuits and hefty fines.

It is imperative to know the difference between re-broadcasting music in a commercial setting versus listening to it strictly for private enjoyment. Consumers are permitted to buy CDs and legally download MP3 files for their personal enjoyment for them; you are allowed to play the music within your own home, private office, or car. The re-broadcasting of licensed music within any commercial establishment (such as a restaurant, office lobby, store, etc) is not permitted and is subject to legal fines and fees.

No License?

If you choose to re-broadcast copyrighted music in a commercial location without a proper license, there is the possibility that you will not get caught and nothing will happen to you. Since monitoring literally millions of pieces of copyrighted music that play every single day throughout the country is practically impossible, there is the possibility that you will not get caught. However, licensing organizations such as Broadcast Music Incorporated (BMI) are stepping up efforts to contact businesses that use music (whether in a retail store or on hold) to make sure they have all the proper and necessary licenses to play that music.

Be forewarned that if you do get caught and are charged for copyright infringement (illegally playing copyrighted music), fines can be as steep as $20,000 for each song (or performance) you played without a license. If it can be proven that the infringement was intentional, the fines will increase substantially and rise possibly as high as $100,000. Contact a licensing organization to get the licenses to play the music you want to play for your customers.

On Hold Marketing Messages

One of the preeminent and most secure ways to guarantee the content and music your customers hear on hold or in a commercial establishment is legal and exactly what you want is to get a custom on hold marketing message Music is so common and widespread in our culture that frequently many of us take for granted the right we have (or think we have) to play it. Such a recording will guarantee that your clients customers hear exactly what you want them to while they are on hold; it is a perfect time to nonchalantly discuss products and services you offer without being intrusive or overbearing. Plus, the cost of having such a message created is substantially less than the fees and fines you are likely to incur if you illegally used licensed and copyrighted music.

http://www.leavemeonhold.com on hold marketing message.

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Muslims Invade Europe, Latinos Invade the U.S

This time in history has been called the Age of Terrorism. While the term is appropriate, the Age of Culturalism might be a better fit. Culturalism is akin to the rise of nationalism in the late 19th and early 20th centuries. As we recall, the growth of nationalism saw the destruction of empires and the birth of many nation-states. It also led to international conflicts.

Culturalism is pride and devotion to a culture, rather than a nation. In the mid to late 1900s American culture took the world by storm. From blue jeans, rebels without causes, rock and roll, hippies and fast food, American culture invaded the far reaches of the planet. No bombs, troops or missiles were needed to be able to get a Big Mac, Pepsi, Coke or Kentucky Fried Chicken in countries that were considered hostile to U.S. interests. Pax Americana was basically the Americanization of the planet, much to the dismay of foreign cultural traditionalists.

The history books are also replete with the cultural invasions during the colonial period. The cultures of places such as India, China, Latin American and Africa took the brunt of Western cultural onslaughts that sought to glorify the white mans burden as it destroyed traditional societies. Native religion barely survived the missionaries who went forth in the name of God to save the heathens from their pagan worship.

The tide has begun to shift. Muslims have culturally invaded Europe. Latinos are striking back in America. Fast foods in the U.S. now promote the burrito and scores of other Latin sounding meals. Even in the guise of have it your way the taco or some form of spacey Latin dish adorns the menu marquis. The European Union bloc, according to the AP, now numbers at least 13 million Muslims and the growth of Islamophobia is on the rise. In Spain, thousands of Africans are fleeing to its shores in search of jobs. Some in the UK are now pushing for schools to teach traditional British values lest they be lost in the new cultural invasions.

It could be argued that turnabout is fair play. For centuries, the West has dominated to cultural world. And now, ever so slowly, those who were colonized and whose cultures once faced extinction, are on the move, changing the very fabric of Western society. There is no question that the news is filled with an ever growing numbers of hate crimes on the part Western countries toward their new immigrants. Only time will tell whether these new cultural invasions will remain relatively peaceful, of if the violent scenarios played out during the U.S.s civil rights will be repeated and, perhaps even exaggerated.

Mr. Harris was born in Massachusetts. He attended The American University in Washington, D.C. and received his degree in Political Science. His graduate work was done at the University of Northern Colorado and Howard University. While in D.C., he spent several years working for local and regional government agencies. Upon moving to Maine he worked with three governors and served as the Assistant Director of the Maine State Planning Office. He worked on a White House Task Force for the development of a National Rural Policy and later served as Rural Policy Coordinator at the Federal Regional Council of New England. He has worked on gubernatorial and senatorial political campaigns and currently works in Special Education.

Mr. Harris is co-author of the novel WAKING GOD and is a nationally syndicated and featured writer for The American Chronicle. He is working on Book II of the Waking God trilogy and writing features for literary E-zines. His second novel, A MAINE CHRISTMAS CAROL has been released by Cambridge Books. Contributing writer for UPI's Religion&Spirituality web site.

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