electronic discovery policy

Few Of Us Get Exposed To Differing Types Of music As We Used To When Tunes Weren't Sliced, Diced And Aimed At Particular Market Segments.

chicago As I scrolled through my Twitter timeline last Sun. night, the MTV video music Awards-related tweets gave me that sad twinge a few individuals get when they realize they are getting older and are out of touch with young peoples passions.

I haven't observed a music award show in years and, though Lady Gaga, Beyonce and Katy Perry are familiar from the mag covers I see at the food shop checkout, their music has never reached, not to mention touched, me.

I miss how music used to be more of a communal experience. today electronic jukeboxes such as iTunes, niche of list of radio stations, satellite and streaming web radio let everyone listen only to whatever music they like. Few of us get exposed to differing types of music as we used to when tunes weren't cut, chopped and aimed at particular market segments.

Remember when it seemed as if everyone listened to Casey Kasem's Top 40? today Billboard has so many chartsradio songs, digital songs and ring tones, and twenty-nine different genres like rock, classical, "Latin," and "kids"I have no idea where to begin.

This isn't always a bad thing, but I am a sap for a while when "popular" music, aka pop, suggested delicate societal shifts.

For example, think back to 1984 when giant audiences tuned into the 2 yearly music award shows and Michael Jackson was winning several VMAs and Grammys for "Thriller." His blockbuster performances at those shows exposed millions to a new advance by a successful and talented black artist. It was the beginning of a fledgling aim for black parity in main line entertainment that commenced picking up steam later that year when "The Cosby show" began its eight-season run on NBC.

For me, 1985 was the important musical year. I used to be a world-weary 10-year-old who pushed the car's radio dial to alternative stations that played punk, tried my best to dress like Madonna, and was totally intolerant of my parents' Spanish-language music.

Their salsa, cumbia, merengue and mariachi corridos consistently filled the house and accompanied each big family get-together. It was music that I felt needed complicated dance moves that I wouldn't have dreamed about attempting, was surely not "cool" and, to my adolescent mind, actually not American.

And then in October the Miami Sound Machine zoomed up the Billboard Hot 100 with "Conga," which became the 1st single to be concurrently included on Billboard's pop, Latin, soul, and dance charts.

Epiphany time : the trumpet-cowbell-hot-piano-timbale combo was overwhelming, not just to me but to other folks, most importantly my classmates and the people listening to English-language radio.

I'll never forget the look on my parents' faces the 1st time they heard me blaring "Conga" on my boombox. "What are you listening to?" my mother asked, shocked. She called my pop over to witness the miracle of my embrace of a musical style I Had formerly rejected. They actually beamed with joy.

I shrugged it off, but mainstream audiences happily doing the "Conga" made me embrace a part of my culture that I had never really given any thought to. Back then, at least in chicago, nobody was going around making a fuss about who was Latino or Hispanic. I believed of myself as simply American.

The popularity of "Conga" was like a Michael Jackson moment for me and other Hispanics. The song's recognition prepared the ground for an even wider audience's embrace of Los Lobos' version of "La Bamba," from the movie about Ritchie Valens. Many radio stations played the tune, with its folkloric guitar outro, in its totality.

Those were heady days leading in to Ronald Reagan signing the not-particularly-contentious Immigration Reform and Control Act of 1986. Salsa was on its way to becoming as popular a seasoning as ketchup. Who'd have imagined that a quarter of a century later folks would be truly anxious about America losing its actual soul to Latino culture.

Today calls for a new song to remind folks that Hispanic and conventional cultures can come together and be enjoyed similarly by people of all racesafter all, there aren't any census form race designations on the dance floor. Where are you, crossover star? And can you hit the Hot hundred in time for next year's MTV video Music Awards? - as reported tagya.com.
e-Discovery Rules Applied to the Risk of Social Media in the Workplace

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