1,721,316 research outputs found
Portland: Wu-Tang is Forever
No full textSign text:
POLITICIANS ARE TEMPORARY
WU-TANG IS FOREVER!https://digitalcommons.usm.maine.edu/signs-of-the-times/1310/thumbnail.jp
Wu-Tang comics : drawing, art, & poetry
No full textCover for Wu-Tang comics : drawing, art, & poetry, from the RISD Library Zine Collection.https://digitalcommons.risd.edu/specialcollections_zinecollection/2082/thumbnail.jp
books piece with a book review of The Wu-Tang Manual, written by the RZA and
No full textbooks piece with a book review of The Wu-Tang Manual, written by the RZA and published by Riverhead Books/Penguin. The RZA, a rapper who organized the hip hop collective Wu-Tang Clan, offers explanations on Wu philosophy and insights into the collective. Members of the Wu-Tang Clan play at the Station, in Portland, on May 22
Transcendence in the World of the Wu-Tang Clan
Get PDFIn over three decades since their 1993 debut, the hip-hop artists known as RZA and Wu-Tang Clan created a world whose significance (for them) transcends the local contingencies of time, place, race, and religion. Whether it is by their creating a world based on filmic myths, by their conquering the world via hip-hop and finding their destiny in a Chinese sacred landscape, by their making themselves symbolic of a perennial worldview, or by their reimagining of their possibilities against the historical terrors of racism, in each case we find an ongoing quest for transcendence that at least for their leader, RZA, demonstrates the meaning of the Wu-Tang Clan.
This study sets out to demonstrate this latter point. Framing its discussion in terms of world and worldmaking, I argue that the fundamental thread of significance that ties together the mythical world of the Wu, especially from the perspective of RZA, is a quest for transcendence, a project that is replete with stylistic, spiritual, existential, cross-cultural, and racial implications. While this is no biography of the Wu-Tang Clan, each chapter, starting with Chapter 2, asks how and why this quest takes shape in a sequentially ordered discussion of Wu’s worldmaking career.
In arguing my point, I mainly take a phenomenological approach to RZA and the Wu-Tang Clan’s cultural productions, describing and interpreting various forms of Wu-associated media (songs, compact discs, album concepts and graphic designs, films, books, and more) from 1993 to the early 2020s. Between the practices of cultural criticism and interpretation, the study also draws from and contributes to Afro-Asian studies and Religious Studies.DissertationDoctor of Philosophy (PhD)This is a study of the Wu-Tang Clan, a hip-hop group from Staten Island, New York. It argues that for over two decades since their 1993 debut, the Wu-Tang Clan has come to produce not only a long resume of music and other media but a mythic world. Furthermore, for the purpose of maintaining this world across time, Wu’s leader, RZA (pronounced “Rizah’), has aimed to make the Wu-Tang Clan symbolic of a universal worldview that transcends their local culture, history, place of origin, religion, and race
The effects of Bu Yang Huan Wu Tang on post-stroke epilepsy: a nationwide matched study
No full textShu-Wen Weng,1,* Ta-Liang Chen,2–4 Chun-Chieh Yeh,5,6 Hsin-Long Lane,7 Chien-Chang Liao,2–4,8,* Chun-Chuan Shih7,9 1Department of Chinese Medicine, Taichung Hospital, Ministry of Health and Welfare, Taichung, Taiwan; 2Department of Anesthesiology, Taipei Medical University Hospital, Taipei, Taiwan; 3Anesthesiology and Health Policy Research Center, Taipei Medical University Hospital, Taipei, Taiwan; 4Department of Anesthesiology, School of Medicine, College of Medicine, Taipei Medical University, Taipei, Taiwan; 5Department of Surgery, China Medical University Hospital, Taichung, Taiwan; 6Department of Surgery, University of Illinois, Chicago, IL, USA; 7School of Chinese Medicine for Post-Baccalaureate, I-Shou University, Kaohsiung, Taiwan; 8School of Chinese Medicine, China Medical University, Taichung, Taiwan; 9Program for the Clinical Drug Discovery from Botanical Herbs, Taipei Medical University, Taipei, Taiwan *These authors contributed equally to this work Objective: To compare the long-term risk of epilepsy in stroke patients who use Bu Yang Huan Wu Tang (BYHWT) and those who do not. Methods: In the Taiwanese national insurance claims data, we identified newly diagnosed stroke patients receiving inpatient care in the years 2000–2004. Using propensity score-matched pairs to balance the baseline characteristics, we selected eligible stroke patients who did (n=8,971) and did not (n=8,971) receive BYHWT. These two groups were followed up until the end of 2009 to track the occurrence of epilepsy. We used Cox proportional hazard models to calculate the adjusted HRs and 95% CIs for post-stroke epilepsy during the follow-up period according to BYHWT use. Results: Compared with the control group, stroke patients with BYHWT had a reduced risk of epilepsy during the 5–9 years of the follow-up period (HR 0.69, 95% CI 0.61–0.77). The association between BYHWT and reduced post-stroke epilepsy was significant in various subgroups of stroke patients. There was a dose-dependent decrease in the frequency of epilepsy with increasing quantities of BYHWT use from 1 package (HR 0.77, 95% CI 0.66–0.90) to ≥6 packages (HR 0.52, 95% CI 0.42–0.65). Conclusion: Stroke patients who received BYHWT therapy had a reduced long-term risk of epilepsy, and the beneficial effect could be observed in various subgroups. However, future clinical trials will be necessary to corroborate the present findings and identify the biochemical mechanism involved. Keywords: stroke, epilepsy, Bu Yang Huan Wu Tang, long-term ris
Importance of wine-treated Angelica Sinensis Radix in Si Wu Tang, a traditional herbal formula for treating womens ailments
No full textSi Wu Tang (Four Agents Decoction), a traditional Chinese decoction composed of Angelica Sinensis Radix, Chuanxiong Rhizoma, Paeoniae Radix Alba, and Rehmanniae Radix Praeparata in a ratio of 1: 1: 1: 1, has been used to treat womens diseases for more than a thousand years. According to the original description of Si Wu Tang, Angelica Sinensis Radix should be treated with wine. However, the importance of this wine-treated Angelica Sinensis Radix in Si Wu Tangs function has not been identified. In this article, the chemical and biological properties of two decoctions processed in different ways (Si Wu Tang with crude Angelica Sinensis Radix and Si Wu Tang with wine-treated Angelica Sinensis Radix) were compared for examination. The herbal decoction Si Wu Tang prepared from wine-treated Angelica Sinensis Radix contained much different amounts of its active compounds. Compared with Si Wu Tang using crude Angelica Sinensis Radix, Si Wu Tang prepared from wine-treated Angelica Sinensis Radix had better biological responses. Therefore, these findings accentuate the functional importance of herbs treated with wine in the Chinese decoction.</p
From the streets of Shaolin the Wu-Tang saga
No full text"This is the definitive biography of rap supergroup and cultural icons, Wu-Tang Clan (WTC). Heralded as one of the most influential groups in modern music--hip hop or otherwise--WTC created a rap dynasty on the strength of seven gold and platinum albums that launched the careers of such famous rappers as RZA, GZA, Ol' Dirty Bastard, Raekwon, Ghostface Killah, Method Man, and more. During the '90s, they ushered in a hip-hop renaissance, rescuing rap from the corporate suites and bringing it back to the gritty streets where it started. In the process they changed the way business was conducted in an industry known for exploiting artists. Creatively, Wu-Tang pushed the boundaries of the artform dedicating themselves to lyrical mastery and sonic innovation, and one would be hard pressed to find a group who's had a bigger impact on the evolution of hip hop." -
Wordsworth to Wu-Tang: Romanticism, Rap, and Nature (Lecture)
Get PDFWilliam Wordsworth writes about the power of nature to heal our minds and hearts. It’s not only experiencing the natural world that’s healing, but also remembering the experience and writing (as well as reading) about it. Over 200 years later, hip hop artist Kendrick Lamar would also draw on the images of Nature for their therapeutic effect on him and his listeners. He looked to the butterfly as the metaphor to chart his transformation through trauma. Similarly, Wu-Tang Clan member RZA’s classical score for his recent Ballet through Mud is inspired by the lotus blossom as metaphor. Although hip hop is associated with urban spaces, natural imagery abounds, such as Tupac’s “Rose That Grew from Concrete.” In this talk, we’ll map organic metaphors that will lead us—from L.E.L to Lauryn Hill, Keats to Kendrick, and Wheatley and Wordsworth to Wu-Tang—to the crossroads of romanticisms and rap
Wordsworth to Wu Tang: Romanticism, Rap, and Nature
Get PDFWilliam Wordsworth writes about the power of nature to heal our minds and hearts. It’s not only experiencing the natural world that’s healing, but also remembering the experience and writing (as well as reading) about it. Over 200 years later, hip hop artist Kendrick Lamar would also draw on the images of Nature for their therapeutic effect on him and his listeners. He looked to the butterfly as the metaphor to chart his transformation through trauma. Similarly, Wu-Tang Clan member RZA’s classical score for his recent Ballet through Mud is inspired by the lotus blossom as metaphor. Although hip hop is associated with urban spaces, natural imagery abounds, such as Tupac’s “Rose That Grew from Concrete.” In this talk, we’ll map organic metaphors that will lead us--from L.E.L to Lauryn Hill, Keats to Kendrick, and Wheatley and Wordsworth to Wu-Tang--to the crossroads of romanticisms and rap
Having the sceptre: Wu-Tang Clan and the aura of music in the age of digital reproduction
No full textAbstractHip hop group Wu-Tang Clan sold only one, expensive copy of their album,Once Upon A Time in Shaolin. This exemplifies recent strategies by popular music artists to establish their work as art, with what Walter Benjamin calls ‘aura’, in response to the accessibility and dematerialisation enabled by digital technology as well as longstanding cultural condescension. Critics argue that popular music should not be restricted but shared, with digital technology increasing opportunities for shared consumption. This article considers the fate of music's aura in the age of mechanical reproduction, arguing that it does not disappear but is dispersed and diversified. The digital acceleration of mass reproduction has drawn mixed responses from artists, fans and commentators, andShaolinand similar projects show how the separation of music from its physical commodity form has brought renewed attention to perennial tensions between the popular, artistic and commercial aspects of popular music.</jats:p
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