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Thanks to the Internet, you no longer have to rely on local radio stations to listen to music you like, and you don’t have to worry about albums being out of stock at the local record store. You have access to a much wider selection of music, and you can listen to radio stations that are programmed according to your tastes.

Besides benefiting consumers, the Digital Music Revolution also gives musicians more control over their music. Thanks to MP3 and the Internet, bands that don’t have contracts with a record company now have access to a worldwide distribution channel that offers them a much higher profit potential. With Internet distribution, much of the overhead disappears. In fact, Internet record labels typically offer royalties of 50%, compared to the 12%-15% typically offered by the major labels.

The economics of Internet music distribution are so compelling that even major artists are choosing to distribute their music through the Internet. Some bands are going a step further and setting up Web sites to sell music and merchandise directly to their fans. Even if only a small percentage of their fans are online, this approach can generate much greater profits because the costs are so low.

A key factor early in this revolution was the development of Winamp, a popular program for playing digital audio on PCs. Winamp was the first full-featured program for playing music in MP3 format. Winamp was developed by Justin Frankel in April 1997, shortly after he dropped out of the University of Utah. Winamp quickly surpassed other players in popularity because of its advanced features like equalizer presets and support for third party plug-ins and skins. In June 1999, Justin’s company, Nullsoft, was acquired by America Online (AOL) for approximately $80 million in stock—not bad for a 20-year-old.

The spark that made the revolution front-page news was the lawsuit filed by the RIAA (Recording Industry Association of America) and the AARC (Alliance of Artists and Recording Companies) to prevent Diamond Multimedia from selling its Rio portable MP3 player. Before the Rio, MP3 users were limited to listening to MP3 files on their computers. But the Rio provided a way to make MP3 portable and, therefore, more appealing to mainstream consumers. Suddenly, MP3 was a serious threat to the recording industry, which had previously not paid much attention to it.

The RIAA is concerned about MP3 because its small file size and lack of security measures make it easy for people to illegally reproduce and distribute copyrighted music. College students with fast Internet connections quickly found out that with MP3 they could download hundreds of songs in less time than it would take to make a trip to the local record store. This kind of piracy is difficult to prevent because the music is just digital bits, and not physical media like tapes and CDs. On the Internet, a single copy of a file can grow to thousands of copies in minutes.

The RIAA argued that the Rio was a digital recording device covered by the Audio Home Recording Act of 1992. A provision of this law requires consumer digital recording devices to incorporate the Serial Copy Management System (SCMS), to prevent the proliferation of multiple generations of digital copies. The RIAA also maintained that the Rio was used primarily to play pirated music downloaded from the Internet.

In June 1999, the U.S. Court of Appeals ruled unanimously in favor of Diamond Multimedia, accepting its argument that the Rio was a computer peripheral and not subject to the SCMS requirement. The court also ruled that the Doctrine of Fair Use (see Chapter 5) allows consumers to “space-shift” music by copying it to another device, similar to their right to “time-shift” video recordings. The right to time-shift was established in the case of Sony versus Universal City Studios in 1984 (464 U.S. 417), which concerned the sale of videocassette recorders in the United States.

Diamond Multimedia not only won the lawsuit; they also received massive amounts of free publicity, which helped increase the demand for the Rio to the point where they were producing more than 10,000 of them per week. The ruling in favor of Diamond Multimedia was also a victory for consumers and consumer electronics manufacturers. But the battle over consumer’s fair use rights is far from over, and will likely require further legislation.


Knowledge Is Power.......
Seek and Ye Shall Find!
...

                DAJiberishRapStar "Dremoney"

Dajiberishrapstar Dremoney

 

 

Jiberish Rap Star”
Andre’ Anderson B.K.A as Dre’ Money, is a performer from Charlotte, N.C.
Unlike other Artist from the South, Dre’ Money has his own unique style of Rap called
“Jiberish”. Money has perfected this language and has taken it to The-Next level to
change
the Rap game. He, as performer and a writer has been active in the industry for many
years and still out to get a chance to be heard. Dre’ Money was inspired by such artists
as LL Cool J, New Edition,TuPac and other known Artist. As an Artist, Dre’ Money has
always maintained a positive role to unite all brothers and sisters of all mankind,and that’s
very universal with in it self. He started
performing in elementary school talent shows and other special activities developing
skills in Hip-Hop and R&B. Dre’ Money’s childhood dream to be a performer is what
keeps him striving to reach his goal. Learning Gibberish at a young age has enhanced his
ability to perfect and master this form of Rap.
In preparation to develop his talent he attended the Jack the Rapper Convention in
Atlanta, Georgia, seeking pointers and views about the music industry. He began
performing at local schools for troubled kids and other special activities to stay
active as an artist. Dre’ Money has performed at many of the West Festivals in
Charlotte, NC as well as large office parties in the area and well as other popular major
venue hiphop/reggae events. Dre’ Money has
experienced a local tour with Rap Artist Huggy, who starred in the movie “Juice”
and “Lean On Me”. In addition he has recorded several rap vocals for Sound Choice
Studio, which is being used for Karaoke Tapes and CD’s sold worldwide. Many of
the songs recorded by Dre’ Money for Sound Choice were by such artist as LL Cool J,
Will Smith, Naughty By Nature and more.
In Dre’ Money’s spare time he enjoys writing, recording and performing songs, as
well as traveling and staying active in various sports. He is a college graduate striving for
show business, Dremoney has also accomplish just recently winnning excutives
producers choice award for Best Rap Performance for Charlotte Music Awards
2009

dremoney charlotte music awards2009
above all else, to make the style of “Gibberish” A.K.A “Jiberish”
become known through my hot new worldwide street sound produced by one of the hottest
new music
producers of The-Next-Level Funk Hop-Inc/The”TraXman”.With that said the rest is a
Matrix aka”Their Story” FunkHop Baby!

dremoney charlotte music awards2009

 

 

 

 

 


Cd song list for preveiw and credits are as follows

1. Make U Gshiver
2. Hop It(Featuring DaJiberishPrinces Angel)
3.Lets Get wild
4. Cock it Back
5.Da Hunter
6.Blacc Lacc
7.Jiberish
8.SurfSide
9.Iam Sayin
10.Bring It On
11.Power Moves
12.Holla At Ya Boyy

all rights reserved all lyrics written and performed by Dremoney DaJiberishrarstar
all music compose,arranged,performed and produced by DaTraxman
Bmi/TooIced music publishing

 


http://jiberishrapstarz.blogspot.com/

All other inquiries feel free to contact

info@funkhopstarzonlyent.com
FUNKHOPSTARZONLY ENT,LLC

 


Giberish and its Meaning


.
The term is first seen in English in the early 16th century [1]. A common theory is that the word comes from the name of the famous 8th-century Islamic alchemist, Jabir ibn Hayyan, whose name was Latinized as "Geber", thus the term "gibberish" arose as a reference to the incomprehensible technical jargon often used by Jabir and other alchemists who followed.[2] A second explanation is from the British colony Gibraltar (from Arabic Gabal-Tariq, meaning Mountain of Tariq), whose residents frequently speak in Spanish and English during their conversations. Gibraltarians will often start a sentence in Spanish and switch to English halfway through, making it difficult for non-locals to follow.
It was first mentioned in "c1554 Interl. Youth Aijb, What me thynke ye be clerkyshe For ye speake good gibbryshe."
Think, for example, of the movement for the Yiddish language. It began decades ago. At that time, there awoke the question in certain minds: why is it that when other nations jumble several languages together and derive from this melange a separate tongue with its unique soul, it is accorded the legitimacy of a separate language and the due respect of nations? Why then when Jews have done the same with the German, Hebrew and Slavic languages is it disparaged as a jargon and sneered at? At that time, assimilation was still powerful and the ethnonational movement had scarcely come into being. There were probably few people who were informed with respect to the new language question, and those that were, reacted to it with peals of uproarious laughter. Nevertheless, the idea did not wither away, and one of its first pioneers, if not the first, Aleksander Harkavi, lives till this very day in New York and has joyously lived to see the realization of his ideal. 
When the intellectuals were approached about this matter-when the attempt was made to convince them of the legitimacy of Yiddish - they laughed and jeered. "What, you want us, cultivated people, to stoop to the level of using your jargon, your most ugly jargon? You can be certain that you will not have your way with us. Better not make fools of yourselves." So they proclaimed arrogantly and considered those who spoke to them of Yiddish to be crazy, pure and simple. 
The Yiddish language took no notice of their laughing scorn and ugly disparagement. With quiet but firm tread, it pursued the road which the new age and the old nationality had diligently paved for it. The new age found it, the language, necessary in order to open the eyes of the common people so that they could at last see, voice their demands and carve a place for themselves in a hostile world. The old nationality, wakening from an age - old dream and as if longing for a major task, could not avoid the Yiddish language. Slowly, there blossomed forth new intellectuals (even nationalist intellectuals) who viewed Yiddish with a brighter and newer vision than their predecessors. They were seized by the powerful feeling that this language is the very soul of our people - its very heart, the very center of our life. Why do we weep that we lack self-esteem? Where should we derive this strength from, when we have spent our entire lives sunk in self-abasement? From which source can we draw on, when we demonstrate greater fidelity to the Hottentots than to ourselves, when we elevate the speech of others to the rank of dignified languages and when we invidiously belittle our own as nothing more than gibberish, as jargon; our language into which we have infused and secreted hundreds of years of our spirit, our heart, our humor and our deepest joys and sorrows? How can a nationality that suffers such supreme denigration ever, of its own accord, recover a modicum of feeling of self-respect and a sentiment for ethnonational sovereignty? Let us shed these garments of shame in which our language is swaddled-with which our weak and sickly yidishkayt has permitted it to be clothed - and our people will once more shine forth and bask in the warm glow of a long neglected self-respect. 

As Crisis Deepens, Government Officials Are Speaking Gibberish

All other inquiries feel free to contact

 info@funkhopstarzonlyent.com

 

FUNKHOPSTARZONLY ENT,LLC
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DaJiberrishRapStar Songs list

U Make Me Gshiver 2011 Full Cd on sale now feel to preview and purchase thanks.