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Hip Hop, By Simon Harris Essay
Rating: Better Essays
Although at first there weren't many UK record labels that were focused solely on hip hop, eventually there was one formed in 1986 by Simon Harris. He named the label Music of Life which had rapper Derek B the first rapper out of the UK that got on the charts. The Music of Life label went on to have a lot of success when they signed a bunch of local artists. Local artists include people like Hijack, Demon Boyz, and Hardnoise. Together they managed to be a very successful label putting out mixtapes that later paved the way for other labels to come up. Mango Records and Kold Sweat are examples of other labels that became big during the 80's. During this rapid change in hip hop there many different artists started to take influences from other places. Some mixed jazz and hardcore, some took elements from reggae, and others even included some elements of disco. With the UK being such a diverse place with many different cultures many different artists used that to make their own style of music that the world hadn't really seen before that.
Some big artist that managed to chart worldwide like Slick Rick and MF Doom both of which lived in the US were actually British born they moved there during the early periods of their lives but their time in the UK helped shape their music. By the late 80's too early 90's British hip hop was starting to gain a lot of momentum, not only in the UK but around the globe. One of the big factors that helped push the movement forward was a magazine called Hip Hop Connection the first major British hip hop publication. It was founded in 1989 and became the longest running monthly magazine devoted entirely to hip hop culture. It was quickly recognized around the world for its amazing content that fans loved...
...e types of rappers are gang affiliated and often times they send hitmen after each other if they are rivals. Drill rap is influenced by road rap mentioned earlier which came originally. The popularity of this genre is somewhat substantial since it has spread to other cities in England like Liverpool and Birmingham.
The trajectory of British hip hop could go anyway it seems to be increasingly popular and as they continue to break the global charts people are starting to pay more attention. They have taken a very popular genre of music and managed to make it something that's entirely original. UK rappers have made a huge impact on the music community showing everyone that they can compete with the best of them. They also are very innovative when it comes to fusing different genres to make new ones. At the rate that its going they may one day rival the US in hip hop.
Hip Rap And Hip Hop Essay
- For as along as I can remember loving music I can remember being fascinated by rap and hip-hop, even from a very early age. I don't know what it is about both rap and hip-hop that makes kids love it and parents hate it, but before diving into that both terms need to be properly defined. While often synonymous with one another, the two may share a few similarities but for the most part vary greatly. Lets start with hip-hop, which was described by KRS-One and Marley Mar in their song Hip Hop Lives as, "Hip and Hop is more than music, Hip is the knowledge, Hop is the movement Hip and Hop is intelligent movement," (lyrics to Hip Hop Lives).... [tags: Hip hop music, Hip hop, Rapping]
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Essay on Hip Hop Is An Expression Of Culture
- Hip Hop is an expression of culture, life through words, and language. When you think of hip hop you think of graffiti, breakdancing, MC's, and DJ's. Hip Hop started in South Bronx, New York in the 60's and the culture of hip hop since then has evolved. Every generation has added their own swag to the culture of hip hop through style of music, lyrics, fashion, dancing, etc. This 21st century of hip hop has went on a completely different path regarding fashion, the way male artists talk about women, quality of lyrics by artists, plus more.... [tags: Hip hop music, Tupac Shakur, Black people, Hip hop]
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- Throughout the history of civilization, mankind has been subject to incredible amounts of trends, social experiments, and cultural movements. For example, a rush of Western movies in the late 1960's lead to a rise in the prominence of Western fanatics. Perhaps the biggest movement of the 21st century, Hip-Hop culture has risen to a zenith throughout the world. Due to the initiation of "Gangster Rap", however, Hip-Hop culture has seen a shadow of disdain and is often wrongly blamed for a multitude of crimes.... [tags: Hip hop music, Hip hop, Rapping, Gangsta rap]
- Everyone has listen to some sort of hip hop music. Not everyone loves it, not everyone hates it. Hip-Hop/Rap is probably one of the newest forms of music, and through it recent year it has taken the world by storm. From the 70s through the 2000s Hip-Hop/Rap has changed it style of tone from political and social point of view, to just trying to tell a story about where they come from. It might say it in the best way but neither are the lives that they live. Hip-Hop or Rhythm and Poetry also know to the world as RAP is a music genre consisting of stylized rhythmic music that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted.... [tags: Hip hop music, Gangsta rap, Hip hop, Rapping]
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- Every hip-hop/rap generation a lot new fresh upcoming aspiring rappers who wishes to go down in hip-hop culture as one of the greatest. Some of them are merely one hit wonders; others go on to silicify their mark in the Hip-Hop culture becoming great artists. In the year 2006 the hip-hop world was introduced to a future superstar by the named of Lupe Fiasco. Lupe Fiasco has become one of hip-hop fastest rising superstar ever since releasing his first album. Although many listeners find some of his music very controversial, yet Fiasco is one of the few artists whose music teaches people about current events that the world has turned the blind eye to, and Lupe lyrical trickster, story teller.... [tags: Hip hop music, Lupe Fiasco, Kanye West, Hip hop]
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- Nowadays if you ask someone to define the hip-hop genre, they probably would say that it's an African American artist reciting lyrics that rhyme to the beat of music. However, it's a form of expression where the artist's lyrics connect to self-image and a meaningful bond to their community. The purpose of my paper will outline the true reality of hip-hop through urban black communities, the act of spreading positivity, and the techniques of hip-hop sounding. While the genre of hip-hop came about in the 1980s, a division was set between the blacks and the whites.... [tags: Hip hop music, Rapping, Hip hop, Funk]
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- The certain attractions hip hop music that is fed to young people of this generation is dangerous. Over the years, hip hop music has been feeding young people music that is negative but is listened to in a positive way. The young people who listen to this music are encouraged by the lyrics of to inflict violence towards a woman. Sexism in hip hop music and videos exploit women to where the young people are more likely to disrespect them. When it comes to wealth respect and success plays a major role in hip hop music for a male dominated music industry.... [tags: Hip hop music, Rapping, Hip hop]
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- "Aye. Ohh"says hip hop Music has evolved many generations throughout the years by sounds,beats,instruments and style. Everyone has a certain genre that they like. Hip-hop is one of the most well known genre among adults and young teens today who has witness the start of hip-hop to how great it is. Hip-hop has influenced,given positive emotions and created a movement throughout time till now. In the city of Bronx,New York 1973 a new genre of music is born known as hip hop. Not notice till the 80's hip hop became the voice of the underprivileged youth at the time.... [tags: Hip hop music, Rapping, Hip hop, Rakim]
Hip hop Essay
- Music has been around since the beginning of civilization. Music was used to tell myths, religious stories, and warrior tales. Since the beginning of civilization music has greatly progressed. Music still tells a story, we know just have many genres to satisfy the cultural and social tastes of our modern society. Hip Hop is a genre of music that has significantly grown the last couple of decades. It's increased popularity has brought it to the forefront of globalization. Technological advances has made it easy for Hip Hop to spread out globally.... [tags: Music, Rap, Hip Hop]
- Hip Hop Hip-hop is a musical art form, created by African-Americans and Latino-Americans in the mid seventies. Its conception came from a young generation of African-Americans in the Bronx, who created a beautiful, prideful expression of music, art and dance from a backdrop of poverty. Since that ignition in a New York City borough, it has inspired people from all socio-economic and cultural backgrounds all across the world. When hip-hop is discussed as an art form and not just as rap, it usually is meant to include the four elements: the DJ, the emcee, graffiti writing, and break dancing.... [tags: Culture Hip Hop Music Essays]
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A year before the 30th anniversary of the fall of the Wall, walls have multiplied. In Israel's West Bank, Romania's Baia Mare, Slovakia's Ostrovany, the Czech Republic's Usti-nad-Labem, Germany's Celle, France's Calais, Spain's Melilla and United States' South—to name just a few—physical markers point to a phenomenon that presents a paradoxical reversal to the 1989 paean of peaceful pangaean prosperity brought about the victors of the Cold War. Contrary to Western predictions, history refused to end. Reshuffling identities remap the northern hemisphere. Indeed, the proliferation of nationalisms, separatisms and even blatant racisms invite the specter which haunted the 1990s' hymn of the 'happily ever after': Balkanization and the genocidal wars it unleashed next to the very cradle of Western civilization. From the bloodshed in the Balkans emerges a poignant critique of the identity politics that ripped one of the most successful countries of Eastern Europe apart with blunt brutality. Perhaps most prominent among the responses from the war-torn region are Emir Kusturica's 1995 and 1998 films Underground: Once Upon a Time There Was a Country and Black Cat, White Cat. Filmed during the wars, Underground condenses the history of Yugoslavia, drawing a direct line from the German annexation in 1941 to the region's bloody struggle to enter a German-dominated European Union. The Second World War, the Cold War and the Balkan Wars fuse into one, all fueled by the same propaganda machination and the same source of profit. Imprisoned by projections of self and Other, the protagonists paradoxically provide for their own disempowerment in an underground arms factory, a metaphor for Plato's Cave. The dream-like surrealism of the film at once renders cinema as a return of the repressed on the 'dream screen' and problematizes the mechanics of dissimulation and displacement that underlies colonial identity construction, aligning the dominant medium of the 20th century with political manipulation. While Underground is primarily concerned with the apparatus that forms such impelling identifications of self and Other, Black Cat, White Cat analyzes—and subverts—their colonial impetus. Although Kusturica reiterates Western projections of the Balkans as Other, as Slavoj Zizek laments, he also recasts them. Seen as the most lacking and 'un-European' among Europe's peoples and demonstratively precluded by the notorious 'Roma walls' from access to 'Western' freedom, democracy and consumerist affluence, the film's Roma protagonists belong to the lowest of Europe's 'racial hierarchy.' Kusturica reverses this projection of deficiency and, thus, the pecking order that legitimizes colonialist entitlement. His characters take their affairs into their own hands, bringing their story to a happy end; they fulfill themselves the consumerist promise by stockpiling—in the form of outmoded commodities—its failure, outdoing it with their own ingenuity and even subverting it with a better product; and, truly Europeans, they are at home on every part of the continent, accepting no walls. Along with his characters, Kusturica debunks the stratagem of lack and suture that legitimates by alleging the insufficiency of the Other that is them. As Pankaj Mishra sees colonialist identity politics boomeranging in the European wars of the last century and reads their resurgence along a trajectory leading to a fatal conclusion, Kusturica's analysis of the shadows of Balkanization that the West casts on the wall of Otherness should invite reflection.


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Remembering Jane Russell: Brunette Bombshell
By Richard Corliss March 04, 2011
George Hurrell / John Kobal Foundation / Getty Images
1941: American actress Jane Russell stars as the fiery Rio in The Outlaw, directed by Howard Hughes — the film which made her a star
Back then they were called bosoms. Jane Russell had some, and Howard Hughes knew what to do with them. Russell's breasts — not actors Walter Huston and Thomas Mitchell — were the stars of Hughes's 1943 western The Outlaw. Lovingly encased in flimsy blouses and a seamless brassiere that the millionaire engineer Hughes had designed for her (Russell says she never wore that "ridiculous contraption" on camera), and best displayed in her several bending-forward scenes, these soft monuments provided a spectacle of flesh that had not before been shown in mainstream movies. From its earliest days, Hollywood had sold female sensuality, but as a full package of allure: face, figure and personality. Russell was the first woman who became a movie star by being peddled in parts.
Those few seconds of semi-exposure seem almost prim today, when the issuing of a porn tape is one path to celebrity, and television has truly become the boob tube. In the '40s, though, Russell's eroticism was a big deal. It preceded and justified the acceptance of Marilyn Monroe and her calendar, the cartoon contours of Jayne Mansfield, Hugh Hefner's Playboy empire — the whole codifying, elevation and exploitation of the American male's mammary mania.
(See pictures of Jane Russell.)
The woman Bob Hope once introduced as "the two and only" managed to survive her Outlaw notoriety — or thrive on it. She forged a substantial postwar career in comedies (The Paleface with Hope), dramas (Macao with Robert Mitchum) and musicals (Gentlemen Prefer Blondes with Monroe). Yet more than a half-century later — when she died Monday, at 89, of respiratory disease in Santa Maria, California — she could still be remembered as the Jackie Robinson of breast fixation.
That would make Hughes her Branch Rickey. He and Howard Hawks, The Outlaw's original director, had cast Russell when she was 19 and had no acting experience. Ernestine Jane Russell, born in Bemidji, Minn., on June 21, 1921, had come with her family to California when she was nine months old; after high school she worked as a receptionist and, occasionally, a photographer's model. An agent sent her photo to Hawks — who also discovered Carole Lombard, Rita Hayworth, Frances Farmer, Ella Raines, Lauren Bacall, Dorothy Malone and Angie Dickinson — and he gave Russell a screen test. "I was astonished at how I looked," she later told Todd McCarthy, Hawks's biographer. "I had a very mediocre image of myself, so I was amazed and very pleased."
Hughes was too. A decade earlier, the aviation mogul and dedicated playboy had produced movies, including the aerial epic Hell's Angels and the notorious gangster film Scarface, directed by Hawks. Now he was back in the game, determined to cast unknowns as the young leads in a Western tale of Billy the Kid and Rio, the girl who nurses the wounded gunfighter back to health. (Jack Beutel, soon to be known as Jack Buetel, got the role of Billy.) In addition to designing Russell's bra, Hughes sent her to pose for a platoon of photographers. "They would have me coming down a hill," she recalled decades later on a TV documentary, "and I had a low blouse on, and then they'd say, OStoop down and pick up these two pails.' Then you'd see down to my navel."
Hawks left after two weeks' shooting, and Hughes took over as director — his first stint behind the camera since Hell's Angels. Insistent on capturing Russell's sultriness and cleavage, he tangled with Gregg Toland, his ace cinematographer (Citizen Kane). To get a closer view of her prime attributes in a scene where Russell seems to be carrying her breasts on a tray, the director had technicians zoom in on the important elements. "Hughes was so fixated that that he privately ran shots of Russell's most overtly sexual posturings night after night in his screening room," McCarthy writes, "and rumors have persisted over the years of special nude footage made for Hughes's delectation alone." Though he operated a very busy casting couch when he bought the RKO studio later in the decade, Hughes showed a paternal protectiveness toward Russell, insisting she remain true to her beau, UCLA quarterback Bob Waterfield. "He didn't want me going out with Hollywood wolves," she told a TV interviewer.
From 1930 to the advent of the ratings system in 1968, every Hollywood film had to be submitted to the Motion Picture Production Code board; scenes the board deemed offensive for public consumption would have to be cut or reshot. When chief censor Joseph Breen saw The Outlaw, he exploded: "I have never seen anything quite so unacceptable as the shot of the breasts of the character of Rio." Hughes, instead of cutting that scene, used it as the movie's central attraction. Promoting his new star as the sexiest thing ever to hit movies ("How'd you like to tussle with Russell?" the ads read), he distributed the film himself, showing it for eight weeks in a San Francisco theater in Feb. 1943. Then, bizarrely — bizarre being S.O.P. for the eccentric iconoclast — Hughes withdrew The Outlaw, reopening it in San Francisco in 1946 and finally giving the movie a full release in 1947. It and she were a sensation.
Also an oddity. Though the ad campaign was all Russell, the film's story concentrated on the battle of two older men — Doc Holliday (Huston) and Sheriff Pat Garrett (Mitchell) — for the affections of Buetel's winsome Billy the Kid. Like Russell, Buetel is presented as a dusky, oily sex object; the two gruff men ignore Rio's charms to paw and fawn over Billy. Indeed, the young actor (who didn't make another film for a decade and never again got a role of this prominence) looks more attractive than his leading lady. She's an imposing physical specimen: five-foot-seven, with a strong jaw and broad shoulders, and an ample chest framed by slim arms; but here her eyes photograph small and her nose beaky. Worse, for all Rio's sexual assertiveness toward Billy, Russell gives the impression she's scared of the camera — cheesecake that's reluctant to be served up.
(See a story on Jane Russell from the TIME archive.)
Hughes filmed dozens of takes of many scenes — Russell told McCarthy the whole shoot was "painful S the most insane thing I've ever seen" — but the stars' acting is slapdash and the pace torpid. Jules Furthman, who'd written some of the '30s' most entertaining adventure films (Shanghai Express, Bombshell, Mutiny on the Bounty, Only Angels Have Wings), turned in an amateurish script notable only for the number of times a character gets trussed up in a humiliating or erotic pose. One image of Russell is straight from a pulp-magazine cover: her wrists tied to opposite walls, her breasts thrust forward as she struggles to escape her spread-eagled captivity.
The actress must have felt similarly confined by Hughes. For years, she said, he sent her out daily to publicize a film virtually no one could see. And since Hughes wanted The Outlaw to be Russell's film debut, he refused to lend her out for roles at the big studios. (She did appear in a minor melodrama, Young Widow, for indie producer Hunt Stromberg in 1946. Fifty years later she opined, "Young Widow should have died with her husband.") Nineteen when she was cast in The Outlaw, she was 26 when the movie finally achieved countrywide release. Russell's next step was to see if she'd have a career or be just a one-joke wonder.
Career it was — intermittently. Paramount smartly cast her as another gunslingin' gal, Calamity Jane, opposite Bob Hope's risk-averse dentist in The Paleface, a spiffy comedy western that spawned the Oscar-winning song "Buttons and Bows." (Hope and Russell reprised the number in the 1952 sequel Son of Paleface.) Though Russell still hadn't much screen experience, she'd learned how to dish out quips and field them, and was the perfect object of Hope's patented fear and lust in one of the big hits of 1948. That same year, Hughes took over RKO as majority owner and production chief, and should have started churning out vehicles for his now-certified star. Instead, he kept her idle until 1951. In her twenties, ostensibly her prime decade, Russell made only three pictures.
(See portraits of Hollywood's top stars.)
She was 30 by the release of her next two films. The suggestively titled Double Dynamite cast her opposite Frank Sinatra, at his Hollywood nadir just before From Here to Eternity revived his career. In her other 1951 effort, John Farrow's noirish, Mexico-set melodrama His Kind of Woman, Russell was paired with Mitchum, the one actor more hulking and glowering than she. For the first time on screen, she kindled sparks with her costar as they swapped endearments and tough badinage (Russell: "You killed Ferraro. How did it feel?" Mitchum: "He didn't say"). The two reteamed the following year in Josef von Sternberg's atmospheric Macao, for which Hughes, ever attentive to Russell's coutour, dashed off this memo to the costume department: "It would be extremely valuable if the dress incorporated some kind of a point at the nippleS. Her breasts always appear to be round, or flat, at that point so something artificial here would be extremely desirable."
Over the 17 years he was in charge of her career, Hughes's original view of Russell never changed. She was to him what she was to a French critic who rhapsodized over "sa fabuleuse poitrine" (her fabulous chest). Taking advantage of the fad for stereoptic movies, Hughes promoted her 1954 musical The French Line with the ad line: "J.R. in 3-D. It'll knock both your eyes out." Again, Hughes reaped the free publicity of scandal when the film, like The Outlaw, was rated Condemned by the Catholic Legion of Decency.
The objection this time was the movie's climactic number, "Lookin' for Trouble," in which Russell purrs her hunger for "a man, any time, any style. / He can be short, tall or e-long-gated. / So bring him on, and watch my own private chemical reaction start to work." Sporting a form-hugging bathing suit with a diamond-shaped cut-out that exposes her midriff, the star struts and bumps with a lubricious vigor that would have raised an envious smile from Tempest Storm. Hughes eventually released The French Line in a more demure edition (the one shown on Turner Classic Movies), in which Russell's outfit covers more of her body, and virtually the entire number is shown in extreme long-shot. (The original version is on YouTube.)
She graced many an RKO film, including Underwater! (another bathing suit) and the gypsy drama Hot Blood ("Jane Russell shakes her tambourines and drives Cornel Wilde!"). But she did her best work away from Hughes's protective leer. In Gentlemen Prefer Blondes she was billed above Monroe, the newer bombshell; and though Marilyn made history singing "Diamonds Are a Girl's Best Friend" in that pink dress that was later used by Madonna and James Franco, Russell was a full partner in the movie's garishly good-natured success. Hawks was again the director, and relied on his old pal to calm Monroe's famously frazzled ego. The ladies' opening song, "We're Just Two Little Girls from Little Rock," is a smashing duet in which Russell's by-now natural bravado plays cleverly off, and reinforces, Monroe's coquetry. The Russell solo, "Ain't There Anyone Here for Love," has the star trying vainly to catch the eye of a retinue of musclemen; these narcissists were the only ones not paying full attention to an intoxicating brunette.
In 1955, when Hughes sold RKO and left the movie business, Russell formed a production company with her husband Waterfield (now a quarterback for the Los Angeles Rams). But Monroe and Mansfield had supplanted her as Hollywood sex icons, and she effectively retired from movies in 1957, thereafter limiting herself to guest spots in a few films and TV series. She devoted her show-biz energies to singing, both on the road and on Broadway, where in 1971 she replaced Elaine Stritch in Stephen Sondheim's Company. Still looking great in her fifties, she became a spokeswoman for Playtex bras, "for us full-figured gals," and gamely revisited her past for film documentarians.
The victim of a botched abortion in her teens, she and Waterfield adopted three children. (They divorced in 1967, after nearly 24 years of marriage. The next year she wed actor Robert Barrett, with whom she'd been touring in stock; he died of a heart attack three months later. In 1974 she married realtor John Calvin Peoples and was with him until his death in 1999.) For decades Russell proselytized for adoption and against abortions, no matter the circumstances. She led weekly Bible-reading classes and, in 2003, described herself as "a teetotal, mean-spirited, right-wing, narrow-minded, conservative Christian bigot — but not a racist."
This devout senior citizen also decried the low moral level of movies — to which she had significantly contributed — and said, apparently without irony, that "we had a Motion Picture Code in those days so they couldn't do all this naughty stuff." When one interviewer expressed skepticism at her new prudishness, she snapped back, "Hey, buddy, Christians have big breasts, too." Over the years she reversed her image: from luscious sex object to anti-sex crusader, from taboo-breaker to cultural revisionist, from prurient to puritan. Thus did Bob Hope's joke turn into a prophecy: she really did become the two and only Jane Russell.

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TVweb
TV Dates
Mary McDonnell Talks 'Major Crimes' Season 3 | EXCLUSIVE
Mary McDonnell Talks Major Crimes Season 3 | EXCLUSIVE
TVweb Contributor
— July 2nd, 2014
in Interviews
One of cable TV's biggest shows is back for a summer full of new cases in Major Crimes, with episodes airing Monday nights at 10 PM ET on TNT. Mary McDonnell returns as LAPD Captain Sharon Rayder, who heads up a task force which handles high-profile cases, with the series showcasing how law enforcement officials and prosecutors work together to deliver justice in the City of Angels.
I recently had the chance to speak with Mary McDonnell via satellite, who offers more details about the new cases this season, new guest stars, the extended 19-episode season, and what fan favorite characters fans can expect back in Season 3. Take a look at our exclusive interview below, and tune in Monday, June 30 when the new season continues with "Letting It Go".
In Season 3, the squad will investigate the disappearance of two kids and their father, the death of a defendant in a rape trial and a complex case involving arranged marriages and diplomatic immunity. Sharon Rayder's personal life is just as complicated as her professional life, trying to put the traumatic past of her foster child Rusty (Graham Patrick Martin) behind him, while a member of his biological family emerges, threatening their new family environment.
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International Journal of Parallel Programming (IJPP), Volume 33(2-3):pp. 209-229.
The goal of the Grid Application Development Software (GrADS) Project is to provide programming tools and an execution environment to ease program development for the Grid. This paper presents recent extensions to the GrADS software framework: a new approach to scheduling workflow computations, applied to a 3-D image reconstruction application; a simple stop/migrate/restart approach to rescheduling Grid applications, applied to a QR factorization benchmark; and a process-swapping approach to rescheduling, applied to an N-body simulation. Experiments validating these methods were carried out on both the GrADS MacroGrid (a small but functional Grid) and the MicroGrid (a controlled emulation of the Grid).


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Nier: Automata No. 2 Type B Gets Naughty


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Q: Cleared nuget locals, now how to undo it? I have not much experience in .Net and did something silly and fucked up my Mac OSX project.
To remove some warnings I used nuget locals all -clear command.
But after this, all the nugets packages are lost and the application is not compiling.
I do not see anything on the git updated files, so it is definitely from my system.
How can I get it back?

A: Try this:

*

*Go to /Users/<your-computer-name>/.nuget/packages and delete all the packages (remember that .nuget is a hidden folder).

*Restart Visual Studio For Mac.

*Open your solution.

*Delete bin and obj folders in your projects.

*Right click to the solution and select "Restore NuGet Packages".

*Rebuild.

redpajama_set_name: RedPajamaStackExchange


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Here is what I did really petty normal kegging ( I thought ) all these beer in one day.
Do they make a device to use to put on keg to keg it from over carbing ?
Yes, it's called a pressure gauge. Seriously, I never recommend carbing at higher pressure, it just leads to problems. If you are really in a hurry, set it to the proper psi for the temperature and the volumes of CO2 you want, then shake it a lot. It will carb just fine, with no risk of over carbonation.
For your current problem, was the head space the same in the kegs? If the two problem beers had more headspace, when you turned the pressure down there would have been more gas in those kegs which could have kept carbonating the beer.
If you are patient, I would vent the beer, wait, vent, wait, repeat, blah blah blah. Eventually you can just let it sit at serving pressure/temperature for a few days and it will carb up fine.
If you are not patient, do the same as above but shake it every time you vent, it will drive the CO2 out of solution.
Let us know how you choose to fix it.
You can get or make a pressure relief valve that will vent if you go over a certain point, but really that's a waste since it will constantly be venting while you are pressurizing. I suppose you could make one and hook it to your keg to continuously vent an overcarbed keg once you've removed the gas, but that seems harder than just pressurizing to the right level in the first place. I have gotten beers ready in less than a day if it was already at serving temp, just by shaking at serving pressure.


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Mike Shields
May 13, 2017, 01:16 IST
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DJ Khaled's show "The Bless Up" and photographer Cam Kirk's show "MyAtlanta" are new WeBuyGold series.
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Jason Merritt/Getty
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Friends, not brands
Overall, Snapchat has a different philosophy than Instagram, which by its nature makes it easy to find brands and follow them. Snapchat executives have said that they want the app to encourage user creativity, which can be inhibited by having businesses reach out to users in the same manner as their friends.
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A small digital company shifting to Instagram is hardly going to shake Snapchat's foundation. Naritiv has raised $4.3 million to date and has seven employees. Still, it's a small example of the momentum Instagram has gathered since co-opting stories and continuing its staggering growth. That growth is more glaring in light of Snapchat's slowing user adoption.
Prior to its new incarnation as a publishing company, Naritiv, has helped hundreds of advertisers connect with digital influencers, including Marriott, Red Bull and the cable network Freefrom.
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This privacy notice tells you what to expect when our organisation, the Style Group, collects personal data, and how to contact us should you wish to discuss any aspect of how we handle that data.
Our primary holding company is Style Holdings Ltd, company number 26793, registered in Jersey.
Style Shopfitting Ltd, company number 8635, registered in Jersey.
Style Shopfitting Ltd also trade as Style Windows and Style Office Systems.
Style Shopfitting (Guernsey) Ltd, company number 9163, registered in Guernsey.
AC Mauger & Son Ltd, company number 2902, registered in Jersey.
Advanced Roofing Services Ltd, company number 99737, registered in Jersey.
The best means of contact for any query regarding data protection is via email at dpo@stylegroupjersey.com. Although data protection queries to anyone in the company will be forwarded to the person responsible by the recipient, a direct email to this address assures a timely response.
If you have any questions or concerns regarding how we work with personal data, please don't hesitate to contact us via the DPO email.
We store and process only the data that we need, and we delete it when it's no longer required. The primary collections of data we use are as follows. Unless otherwise stated, we don't pass this data to anyone else and the data is stored on our servers in Jersey. If you'd like more detail, you're welcome to get in touch.
We store personal data on our employees so that we can run the company and pay our employees. This includes names and contact details, pre-employment screening information, performance and disciplinary data, and health information and bank details; it also includes emergency contacts and next-of-kin information as provided to us by each employee. We retain data for former employees for a period of ten years following cessation of their employment, in accordance with our data retention policy, or as long as we're required to by law.
We store and process customer and supplier data in order that we can correspond with, provide/receive goods and services to, and process payments from/to, our customers and suppliers.
Customer data will be retained for a period of ten years following the satisfactory fulfilment of all our contractual obligations to that customer. Personal data held shall be used only for the purposes of fulfilling that contract, or longer where there is a legal obligation to do so or where expressly agreed, unless such consent is withdrawn.
Our phone system retains logs of the calls we make and receive (unless, for incoming calls, the caller's number is withheld). Only the date and time of the call and the phone number (where available) are retained, and the logs are stored for no longer than a year.
Where we use data for marketing and we need your consent to do so, we keep a record of that consent for as long as you choose to receive that data. If you withdraw your consent for one, some or all of our mailing lists we'll take you off the list and will record the fact that you've done so for audit purposes.
Data processors are third parties who do work on our behalf using personal data we provide to them. They cannot do anything with your personal data unless we instruct them to do so (which includes sharing your data with others), and they must store the data securely and delete it when it is no longer required.
As you would expect, the contract between us and our IT support partner contains appropriate clauses regarding information security and data protection, and we carry out regular service reviews.
Our marketing team comprises in-house employees and a number of staff from third party marketing companies. As with our outsourced IT support, the agreement between us and them is robust with regard to information security and data protection, and the service is reviewed regularly. The personal data we work with isn't transferred to their systems.
Our IT systems are located in a secure room to protect them against theft and environmental risks (flood, fire, power cuts, etc.). All our computer systems run up to date anti-virus software, and system updates are applied regularly to protect against potential security problems. Back up tapes are held securely off site. All the user login IDs on our systems are restricted so that each user has access only to the data that he or she requires.
All our laptops' hard drives are fully encrypted, so the data held on them is safe should one be lost or stolen. Our staff have access to their work email etc from their mobile phones which have an inbuilt security PIN code to access data.
We use Google Analytics to collect standard log information, along with data about how people use our web sites. The information doesn't identify anyone, and nor do we attempt to find anyone's identity from the information. If we do want to collect personally identifiable information through our web sites we will be open and transparent and will explain what we plan to do with it.
We may use LinkedIn, Facebook, Twitter and other social networking platforms to post news and information, and to look at the profiles of people who apply for employment with us (though we don't take copies of any of that information). We don't use social media to (for example) build mailing lists.
We also monitor any emails sent to us, including file attachments, for security threats such as phishing scams, viruses or other malicious software. Please note that you have a responsibility to ensure that any email you send us is within the bounds of the law.
You have a number of rights under the laws of data protection. As we mentioned earlier, please contact the Data Protection officer by email or phone if you have any queries or concerns. We retain a log of requests that we receive and remove entries when they are a year old.
You can contact us to request a copy of any personal data we hold about you on our systems or in our files, along with information about what we use it for. We must respond to you in a reasonable time, and always within a month. Unless the request is particularly complex or onerous there's no cost to you for making these requests.
We must ensure that the data we hold about you is accurate. If you tell us that something is wrong, we will correct it and then confirm to you that we've done so.
If you ask us to erase your personal data, we must do so unless there's a legitimate reason for us to keep it. For example, if you choose to withdraw your consent regarding marketing mailings we'll remove you from our mailing lists, but if (say) you're also a customer and we need some of your personal data in order to satisfy our contract with you (for example to interact with you or to send you bills), we'll keep just the information we need for those purposes.
If there is some dispute between you and us regarding the use of your personal data, you have the right to ask us to restrict the processing of your data. This means we can continue to store it but we can't do anything else with it until the dispute is resolved. We'll inform you prior to beginning processing once the restriction has been removed.
We are the data controller for any information you provide as part of our recruitment process. All of the information you provide during the process will only be used for the purpose of processing your application, or to fulfil legal or regulatory requirements if necessary.
We will not share any of the information you provide during the recruitment process with any third parties for marketing purposes, and your data will be stored on our IT systems in Jersey.
We will use the contact details you provide to us to contact you to progress your application. We will use the other information you provide to assess your suitability for the role you have applied for. The information we ask for is used to assess your suitability for employment: you don't have to provide what we ask for, but it might affect your application if you don't.
This privacy notice is designed to be clear and concise. We are happy to provide any additional information you need: please contact us via email or phone using the contact details in the Data protection officer section, above.