Michael Schultz Committed The Tort Of Appropriation And An Intrusion Upon Seclusion

Speaking about his personal identity, Drake says, "At the end of the day, I consider myself a black man because I'm more immersed in black culture than any

Vanilla Ice uses a stereotypical approach to establish credibility from other rappers and his audience. With the use of literary devices, Vanilla Ice illustrates himself as an MC capable of “cooking [other] MC’s like a pound of bacon.” This simile comparing other MC’s to bacon gives the audience the impression that Vanilla Ice can out-perform any competitor. This is essentially challenging others as though they were no match for him. He also uses the stereotype that successful rappers constantly have female attention when he claims he has “girlies on standby.” However, he insinuates he is too good for these women after he “just drove by.” This implies that he not only has admirers, but it is not worth his time to stop and acknowledge them. He also makes his music seem desirable by comparing its value to that of drugs, claiming “if [his] rhyme was a drug [he’d] sell it by the gram.” This comparison demonstrates how addictive he believes his music is. Vanilla Ice uses these methods to appeal to the conventions of rap in order to create an image comparable to that of an established

Most teens and young adults would recognize the names of these famous artists; Rihanna, Beyonce, Eminem, and Katy Perry. However, they may be surprised to know that none of these names are their birth given names. Whether people wish to maintain a professional name, evade crime, or remain anonymous… changing their name will accomplish their needs.

In a twenty-four-hour day, internet users will have communicated online at least once whether it is writing to a classmate on a message board, posting pictures on Instagram, or responding to colleges via email. It is possible that a different username and identity are used for each of these online communications, each username constituting, in effect, a separate “personality.” These online personalities may be a part of one’s authentic self or a separate identity altogether. In The Times article, "Internet 'trolls' ignore social rules: Expert: Online disinhibition effect means many people feel invincible online," the anonymous author states, “This is your brain in cyberspace: while in warp-speed from forum to

The journey of self-discovery is one we must all take. The presence of fame can make the journey even longer because of the expectations that often accompany it. Donald Glover is a versatile part of America’s entertainment industry. Known primarily for his comedic endeavors and the music he releases under the pseudonym Childish Gambino, Glover is a force to be reckoned with. Prior to the release of his project “Because the Internet,” Glover posts an open letter on Instagram sharing his fears concerning life, relationships, and self-identity. Following suit of 2010’s “Donald for Spiderman” campaign, news of Glover’s deteriorating mental health spread quickly, shocking his growing fan base. Gone is the bright and energetic Troy Barnes, Glover’s

Kembrew McLeod (1999) proposes that an increased emphasis on blackness as a major point of hip hop authenticity – along with other characteristics like being “underground,” “from the street,” and “staying true to yourself” (1999, 139) – occurred in an effort to preserve hip-hop’s identity in the face of mainstream absorption (see also Decker 1994). Two significant aspects of McLeod’s contributions are (1) his acknowledgement of the broad nature of all authenticity claims – as opposed to arguing for an authoritative Truth about what hip-hop is, McLeod bases his research on how the genre is discussed by artists, fans, and the press; and (2) his binary framework which pits “Black realness” against “White fakeness.” Others have since used this

The commercialization of hip hop has led to many changes in not just the genre of music but in the culture of marketing and youths around the states in addition to the rest of the world. But is this commercialization trend truly a bad for hip hop as an art. The music industry has always affected multiple aspects of life and know these hip hop and rap artist are capitalizing on the many endorsement that come with the uptrend of hip hop’s popularity around the world. Sarah Paolantonio’s. “Reasonable Doubt: Marketing Big Hip Hop." She states “it’s hard to imagine the world of exclusivity and pay-to-play that Jay is instituting. Instead of fighting the powers that be, Jay is working with them: giving Samsung money, advertisements and synergy with (one of if not) the biggest name in music.” (par.11) I disagree with her statement I believe that it is the artist right to be able to innovate new ways to earn more from their art because how they influence the market of product sales and other markets.

In the article Rap and Moral Character by Wesley Cragg and Christine Koggel, the subject of concern is the consequences of listening to rap music and the effects on moral behaviour. The author suggests that rap and moral character are linked and that due to the natural context of rap, it promotes violence, crass materialism, crime, and is misogynistic and therefore corrupts a person’s moral character. Based on their claims, the authors take the position that rap should be censured – morally. In this paper, I will examine the authors’ claims, their reasoning, and their use of concepts. By doing so, I will be able to demonstrate that their thesis (rap corrupts moral character and deserves moral censure) is unjust

The company is modifying their real names policy in another way as well. They announce that now if someone suspects that a fake name account is present, they must express reason for concern. Not only that but for the people who want an assumed name they must provide detailed information to the company on why they want it. Gage stated this claim so they can see if their reasoning is sufficient.

In response to Drake not acquiring a social media profile, Michael Schultz (Defendant) is the creator of a fake profile for Drake. The fake profile pretended to portray her views as an artist. Schultz did not obtain the permission of Drake before creating the fake profile.

In a number of ways in his article, Beaver argues “at the very least” that companies involved with the recording industry should meet what he calls the “‘moral minimum’” to prevent the harm he feels is inflicted upon all aspects of society by rap music and should consider “censoring” the derogatory language observed in rap lyrics in order to “correct social injuries,” even if the lyrics of the genre itself generate a sustainable profit from consumers (107). Beaver calls attention to the fact that the lyrics of any genre of music, not just rap, can impact human behavior in a negative way due to the violence and unfavorable messages embedded in the lyrics themselves. He bases this fact not only on the opinions expressed by critics of the rap genre, but also on the results of a variety of suggestive scientific studies involving groups of people ranging from college students to youths aged twelve to seventeen. Beaver notes that the results of the studies have shown increases in negative behavior such as aggression and sexual activities. Beaver does endorse the fact that researchers

For example, authors Julianne Escobedo Shepherd and Lindsay Zoladz are both critical of popular artist Drake in their respective pieces. Shepard explains that her least favorite song of the year was Drake’s “Charged Up.” This song was an unexpected diss track towards rapper Meek Mill that gained traction because young people on the Internet enjoyed the drama associated with it. Unlike Shepard, Zoldaz is a fan of Drake, but still critiques his music and his attitude towards woman. In 2015, Drake’s most popular single was “Hotline Bling,” which gained even more success because of social media. After the music video for “Hotline Bling” was released, many people posted Internet jokes about Drake’s dance moves. However, in the midst of all this fun, Zaldaz found time to dissect the lyrics of the song. She argues that Drake’s attitude towards women has become “old-fashioned” and uses “Hotline Bling,” a song where Drake seems to be annoyed at a girl for going out, to prove her point. In addition to speaking about artists such as Drake on this blog, topics such as sexism and racism within and caused by the music industry are also covered. For example, authors discussed the difficulty black women face regarding gaining recognition in the industry in comparison to their white counterparts. Furthermore, they

In the twenty-five years since hip-hop was introduced into the music scene, only few artists (known commonly as rappers) have successfully been able to provide a respectable image of black women to listeners around the world (Chadwick, n.d, p. 1). Unfortunately, many talented artists chose to trade in their respect for women, especially women of African-American decent, at the start of their careers, just to harvest money as entertainers of the current generation. Audiences of famous rappers, such as Jay-Z and Nelly, have become accustomed to their misogynistic lyrics, and many black females have been forced to acknowledge the unfair representations alone, as protests against the music are overheard or forgotten

In December of 1994, a young college student named Jake Baker posted one of his fiction pieces in an alt.sex newsgroup. Usually, his contributions to this widely-read site consisted of short stories about rape, torture, and murder of women. In this particular newsgroup post, he continued with his usual contributions; however, he took it a bit further by writing about one of his fellow classmates, using her name and identity in the piece. Faculty members at the University of Michigan discovered his story and later expelled him from school. Federal agents then raided his house, arrested him, and discovered copies of e-mail Baker had exchanged with a Canadian, mapping out his and the Canadian's plan to

Ever since its emergence from the streets of New York, rappers tell about their experience of “living on the streets and surviving in the ghetto” (Rose 1994:1-2; Watkins 2005:2). Therefore, hip-hop artists often present themselves as ‘tough’ or ‘bad’ boys or girls. The importance of a credible and authentic presentation of oneself as a hip-hop artist is thus at stake when inventing a stage name. (…) Stage names are a first step in self-definition and expression of an identity for “hip hop’s prolific self-naming is a form of reinvention. Artists take on hip hop names that speak to their role, personal characteristics, expertise or ‘claim to fame’” (Rose 1994: 36).” (Gazzah, 2008, p.