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Книги з теми "Hop products"

Автор: Grafiati

Опубліковано: 30 травня 2022

Оновлено: 31 травня 2022

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1

Berry, Bertice. The haunting of hip hop: A novel. New York: Doubleday, 2001.

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2

Representing: Hip hop culture and the production of Black cinema. Chicago: University of Chicago Press, 1998.

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3

Schloss, Joseph Glenn. Making beats: The art of sample-based hip-hop. Middletown, Conn: Wesleyan University Press, 2004.

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4

Curry, Mark. Dancing with the devil: How Puff burned the Bad Boys of hip-hop. Los Angeles, Calif: NewMark Books, 2009.

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5

Dancing with the devil: How Puff burned the Bad Boys of hip-hop. Los Angeles, Calif: NewMark Books, 2009.

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6

Curry, Mark. Dancing with the devil: How Puff burned the Bad Boys of hip-hop. Los Angeles, Calif: NewMark Books, 2009.

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7

Küchli, Christian. Forests of hope: Stories of regeneration. Gabriola Island, BC, Canada: New Society Publishers, 1997.

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8

Das, Shanti. The hip hop professional 2.0: A woman's guide to climbing the ladder of success in the entertainment business. Atlanta, Georgia]: Press Reset Entertainment Publishing, 2013.

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9

Bad boy: The influence of Sean "Puffy" Combs on the music industry. New York: Pocket Books, 2001.

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10

Auger, Ghislain. Adapted hedging strategies for eastern Canadian hog producers. Ottawa: National Library of Canada, 1988.

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11

Def Jam, Inc: Russell Simmons, Rick Rubin, and the extraordinary story of the world's most influential hip hop label. New York: One World Ballantine, 2005.

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12

McBride, William D. U.S. hog production costs and returns, 1992: An economic basebook. [Washington, DC] (1301 New York Ave., NW, Washington 20005-4788): U.S. Dept. of Agriculture, Economic Research Service, 1995.

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13

McBride, William D. U.S. hog production costs and returns, 1992: An economic basebook. [Washington, DC] (1301 New York Ave., NW, Washington 20005-4788): U.S. Dept. of Agriculture, Economic Research Service, 1995.

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14

McBride, William D. U.S. hog production costs and returns, 1992: An economic basebook. [Washington, DC] (1301 New York Ave., NW, Washington 20005-4788): U.S. Dept. of Agriculture, Economic Research Service, 1995.

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15

McBride, William D. U.S. hog production costs and returns, 1992: An economic basebook. Washington, D.C: U.S. Dept. of Agriculture, Economic Research Service, 1995.

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16

Halvadakis, Constantinos P. Hog-farm waste management: Investment opportunities in Greece. Athens: Centre of Planning and Economic Research, 1988.

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17

Mahler, Matthias. Marketing für Ab-Hof-Verkauf bayerischer Agrarprodukte. Kiel: Wissenschaftsverlag Vauk, 1991.

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18

Mogul: A novel. New York: Atria Books, 2011.

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19

Clarkson, Wensley. Quentin Tarantino: Shooting from the hip. Woodstock, N.Y: Overlook Press, 1995.

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20

Quentin Tarantino: Shooting from the hip. London: Piatkus, 1995.

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21

Griffiths, Griffiths William Hugh. Developments in the law of product liability: Being the presidential address of the Rt. Hon. The Lord Griffiths, President of the Holdsworth Club of the Faculty ofLaw in the University of Birmingham, 1986-1987. Birmingham: Holdsworth Club of the University of Birmingham, 1987.

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22

Williams, Bruce. Rollin' with Dre: The unauthorized account : an insider's tale of the rise, fall, and rebirth of West Coast hip hop. New York: One World, 2008.

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23

Ockerman, Herbert W. Animal by-product processing & utilization. Lancaster, PA: Technomic Pub. Co., 2000.

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24

Bowers, Fergal. Hep C Niamh's story. Dublin, Ireland: Marino, 1997.

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25

Giesen, Rolf. John Boorman - Hope and glory (Hoffnung und Ruhm): Das Portrait des Kino-Magiers. München: Goldmann, 1987.

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26

L, Benitez J., and European Brewery Convention. Technology and Engineering Forum., eds. Hops and hop products. Nürnberg: Getränke-Fachverlag Hans Carl, 1997.

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27

Brown, Jake. Hip hop hits: The producers speak. 2017.

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28

DeFrantz, Thomas F. Hip-Hop in Hollywood. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.001.

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In the early 1980s, Hollywood began to exploit hip-hop dance—especially breaking—to produce a limited series of movie musicals. These “breaksploitation” films set a standard of participation for young artists, and in particular, young artists of color, to enter the movie industry as laborers, and to enter the global imagination of film audiences as representative agents of change. This chapter explores the traditions of Hollywood musicals and dance artists of color just before the hip-hop film production era; the innovations of these early 1980s films in terms of their casting, creative approaches, and presentation of contemporary social dance; and the communities that these mediated projects both catered to and generated. Together, these films inspired a global audience for breakdancing, and are inextricably linked to the sweep and scale of young people’s interest in these corporeal practices.

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29

Kanye West: Grammy-winning hip-hop artist & producer. ABDO Publishing Company, 2013.

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30

Lommel, Cookie. Russell Simmons (Hip-Hop Stars). Chelsea House Publications, 2007.

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31

Sean "Diddy" Combs (Hip Hop). Mason Crest Publishers, 2006.

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32

Wittmann, Kelly. Sean "Diddy" Combs (Hip Hop). Mason Crest Publishers, 2007.

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33

The Haunting of Hip Hop. New York: Broadway Books, 2002.

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34

Davis, Kimberly Chabot. Wiggers or White Allies? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038433.003.0002.

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This chapter examines three white hip-hop artists whose youth was spent consuming and producing hip-hop in interracial neighborhoods or friendship groups: Eminem, Danny Hoch, and Adam Mansbach. Their cultural immersion facilitated and strengthened social ties to black people. Here, the chapter uncovers long-term manifestations of racial sincerity, but it also registers moments of failure, when one or another succumbs to the privileges of whiteness or opts for the easier postures of authenticity rather than the ongoing work of struggle against racial injustice. Treating these three artists as consumers and producers of hip-hop culture, the chapter analyzes the racial politics and sincerity of their rap lyrics, theater performances, film, fiction, essays, interviews, and social activism. Without reducing the artistic complexity of their imaginative work, it considers their creative products as reception documents that reflect their understanding of the meanings and significance of hip-hop culture.

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35

Gotta Get Signed: How to Become a Hip-Hop Producer. Schirmer Trade Books, 2005.

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36

Raph. Behind the Beat: Hip Hop Home Studios. Gingko Press, 2005.

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37

Berry, Bertice. The Haunting of Hip Hop: A Novel. Harlem Moon, 2002.

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38

Watkins, S. Craig. Representing: Hip Hop Culture and the Production of Black Cinema. University Of Chicago Press, 1999.

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39

Stoneman, Paul, Eleonora Bartoloni, and Maurizio Baussola. Product Innovation and Welfare. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816676.003.0012.

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This chapter addresses the impact of product innovation on economic welfare, initially defined as the sum of consumer and producer surpluses. In a static framework, it is shown how product innovation can increase welfare via additions to consumer surplus and increased firm profits; and an estimate that the value of the increase for a typical product innovation might equal 2.5 per cent of the innovator’s revenue is reported from the literature. Problems with measuring welfare by the sum of consumer and producer surplus are raised, especially because of changes in the producers’ incentives to innovate. In an intertemporal framework, it is further shown that the optimal diffusion path could arise under either monopoly supply or competitive supply, depending on buyers’ price expectations formation processes. It is also argued that variety itself may generate welfare, and whether free markets would generate optimal variety is discussed. The literature suggests not.

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40

Wei, James. Product Engineering. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780195159172.001.0001.

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The current chemical engineering curriculum concentrates on process: the efficient manufacturing in quantity of traditional chemical products such as ammonia and benzene. However, many chemical companies now invent and manufacture specialty products with particular properties such as pharmaceuticals, cosmetics, and electronic coatings, and their employees need to know how to design the products as well as manufacture them. James Wei, a famous chemical engineer, is writing this book to provide theories and case studies in product engineering the design of new, useful products with desired properties. The first section relates historical case studies of successful product invention and development by individuals and companies. The second part of the book describes the toolbox of molecular structure-property relations. A desired product needs to have certain properties (for example, phase transition or thermal properties) and the chemist must find or design a molecular structure with the required properties This section will instruct chemists in the analysis of structure and property information. The third section is concerned with the next stage: product research and design. It will discuss improving the desired product by additives and blending, among other strategies. It will also cover future challenges in product engineering.

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41

Michael, Bariska, and Küchli Christian, eds. Forests of hope: Stories of regeneration. London: Earthscan Publications, 1997.

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42

Kuchli, Christian, and Christian Khuchli. Forests of Hope: Stories of Regeneration. Island Press, 1997.

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43

King, Curtiss. The Prosperous Hip Hop Producer: My Beat-Making Journey from My Grandma's Patio to a Six-Figure Business. Maurice Bassett, 2018.

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44

King, Curtiss. The Prosperous Hip Hop Producer: My Beat-Making Journey from My Grandma's Patio to a Six-Figure Business. Maurice Bassett, 2018.

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45

Domínguez, Virginia R., and Jane C. Desmond, eds. Kristin Solli on Ian Condry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0027.

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Анотація:

This essay is a response to Ian Condry’s contribution in this book, Global Perspectives on the United States. Solli appreciates Condry’s analysis and ideas about music, location, and power but also extends them by discussing an example that, like Condry’s case, suggests the intricacies and paradoxes that follow in the wake of the global dissemination of U.S. popular culture. More specifically, Solli here examines jazz, a genre that has received considerable attention by scholars interested in the local/global dynamic that Condry addresses. While acknowledging that hip-hop in Japan and jazz in Norway have their important differences, Solli considers some similarities as well, especially the dynamic whereby the music gains meaning from being positioned in relation to a perceived U.S. center. Solli notes that both academic and popular discourses tend to focus on how U.S. cultural products and practices are changed and reworked by people in other places, and she asks if this move might risk recentering the U.S. even if the goal is the opposite. In the end, this essay argues that it is important to show how hip-hop in Japan, jazz in Norway, or country music in Brazil, for example, complicate simplistic models of U.S. cultural imperialism. Has the time now come to examine what is and is not localized?

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46

Kulchli, Christian. Forests of Hope: Stories of Regeneration. New Society Publishers, 1998.

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47

Harris, Irene. Quavo Adult Coloring Book: Legendary Rapper and Acclaimed Hip Hop Artist, Trap Star and Record Producer Inspired Adult Coloring Book. Independently Published, 2019.

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48

How To Record & Produce Audio Products That Sell. Norwest Communications Inc., 2007.

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49

How To Record & Produce Audio Products That Sell. nor west communications, 2007.

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50

Goodwin, Holly. Vince Staples Adult Coloring Book: Hip Hop Legend and Acclaimed Actor, Famous Record Producer and Rap Icon Inspired Adult Coloring Book. Independently Published, 2019.

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