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2015 FALL/WINTER SEASON the Apollo Theater Launches
2015 FALL/WINTER SEASON The Apollo Theater launches Apollo Comedy Club The new series marks the extension of the Theater’s late night programming and will kick-off with the Apollo Walk of Fame Induction of comedic legends Redd Foxx, Jackie “Moms” Mabley and Richard Pryor Other 2015 Season Highlights Include: The return of the global hip-hop dance theater festival Breakin’ Convention Just added celebrated French dance duo Les Twins Also featuring a new work developed at the Apollo by acclaimed choreographer Rennie Harris Irvin Mayfield, Dee Dee Bridgewater & the New Orleans Jazz Orchestra For the New York Concert Premiere of Bridgewater and Mayfield’s New Album ‘Dee Dee’s Feathers’ A Festive Halloween Weekend Celebration To Include A New Orleans Masquerade Themed Concert and After Party World premiere of renowned Brazilian choreographer Fernando Melo’s latest work; A co-commission with Ballet Hispanico Apollo and Jazz à Vienne’s artistic and cultural exchange continues with Je Suis Soul: A Salute To French And African Jazz And Soul A Celebration for the 35th Anniversary of the Jazz à Vienne Festival featuring French soul’s leading artists The Legendary Manu Dibango, Ben l’Oncle Soul with the Monophonics and Les Nubians The Classical Theatre of Harlem presents The First Noel: A World Premiere Musical; Book, music and lyrics by Lelund Durond Thompson and Jason Michael Webb (Harlem, NY –September 21, 2015)—On the heels of the recently announced expansion of its daytime programming with the Billie Holiday hologram show, the Apollo Theater today announced another exciting new addition to its 2015 Fall/Winter season with the launch of a new comedy initiative – Apollo Comedy Club. -
Updates on IUOE 302 Concrete Pumpers Negotiations
Updates on IUOE 302 concrete pumpers negotiations DECEMBER 30, 2007 401(k)s vs. Defined-Benefit Pensions Summary on the membership’s vote on the contract pro- (Dec. 21 entry from Local 302’s Blog at www.iuoe302.org) posal from Brundage Bone, Pacific and Ralph’s: Last week, the U.S. Government Accountability Of- The voice of our membership was heard today. The em- fice released a report explaining how grim the retire- ployers’ proposal was seen by the membership for what it is ment outlook is for today’s teenagers. More than one -- a clear attempt to further degrade out of three American workers born in 1990 will have those working in the pumping in- zero dollars in a 401(k)-style savings plan when they dustry for another six years. reach retirement age, the report said. Why? When you’re young, you aren’t thinking The vote against the proposal about retirement. You’re thinking about what you’re was nearly unanimous among the doing that weekend – or who you’re doing it with. pumpers at two companies, and it That explains why, as the GAO report points out, many was rejected 2-to-1 by pumpers at young people don’t contribute to employer-matched 401(k)s when they have the opportunity. It comes out the third. of their paychecks, and that means less this weekend. We remind all members that Even those who do contribute to 401(k) savings plans if anyone who is management attends your Union meeting often pay the tax penalty and take that money out at and then threatens your job based on your comments or your some point, the GAO report says. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Basic Training for Those Guiding Children Around the World to Follow Jesus Like the Twelve Disciples
Basic training for those guiding children around the world to follow Jesus like the twelve disciples Part of the 1 for 50 family of training resources Table of Contents CORE LESSON OPTIONS (1 hour each) 1-0 Jesus’ Heart for Children 2-0 Jesus and the Children’s Leader 3-0 Characteristics of Children 4-0 Building Relationships with Children 5-0 Preparing to Teach Children 6-0 Building Bridges of Holistic Outreach to Children 7-0 Presenting the Gospel to Children 8-0 Talking with Children about Following Christ 9-0 Helping Children Grow as Disciples 10-0 Helping Children Experience God’s Word 11-0 Engaging Families 12-0 Building the Kingdom Together (networking/partnership) ENRICHMENT/EXTRA LESSONS (30 minutes each) 3-1 Needs of A Child 3-2 Understanding Our Children’s World 3-3 Considering children in Crisis 4-1 Communicating with Children 4-2 Building Relationships with Children through Play 4-3 Conversation Starters 5-1 Managing Classroom Behavior 6-1 Outreach Ideas 6-2 Overcoming Outreach Obstacles 7-1 More Gospel Tools 8-1 Answering Children’s Difficult Questions 9-1 Prayer Experiences for Children 9-2 Worship Experiences for Children 9-3 Helping Children Share Jesus with others 9-4 Growing Attitudes of the Disciples 9-5 Involving Children in God’s Big Story 10-1 Object Lessons-Demonstrations 10-2 Preparing and Presenting a Bible Story 10-3 More Bible Verse Ideas 10-4 Drama Experiences 10-5 Classroom Games 11-1 Spiritual Growth for Families 11-2 Outreach Ideas for Families 12-1 Connecting with the Church in Your Community 12-2 Involving Children in the church Instructor’s Guide LESSON 1-0 Jesus’ Heart for Children Objectives Participants will need: ñ To discover what scripture says about Jesus’ heart for children and the ñ Bibles world. -
Welcome to the Office!
OFFICIAL NEWSLETTER OF THE PARK SLOPE FOOD COOP Established 1973 Volume JJ, Number 18 September 3, 2015 Welcome to the Office! By Lily Rothman an upbeat, “Hello, Park Slope the office can’t make individual hen Coop members enter Food Coop.” exceptions to Coop-wide poli- Wthe PSFC office, though “Everyone’s really nice in cies, often the office can help. their reasons to visit may dif- the office. That’s the best thing For example, that common fer, one particular sentiment about this shift,” says Diana problems—absences and is often on their minds: I’m in Griffin, who was marking her suspensions—have plenty of trouble. Or at least, according two-year anniversary on the solutions. The office can con- to General Coordinator Jess office squad that day. “Most of nect members with their squad Robinson, who supervises the the time we can help people.” leaders (whose phone numbers staffers who work in the office, The most common reason are available in the office). The that’s the sense those on the people call, observes member office can enroll members in other side of the desk have. Debra Lowe, who has done the one-for-one program (an Many members approach the office shifts for about five years, option for people who owe second-floor sanctum as if they is to find out whether they’re makeups for more than six had been summoned to the eligible to shop. And, as Grif- work cycles in a row). The office ILLUSTRATION BY CATY BARTHOLOMEW principal’s office. fin says, despite the fact that CONTINUED ON PAGE 2 But, office workers agree, Coop Manners: Members Dish on those who shuffle up the stairs with fear in their hearts How to Have the Best Shopping shouldn’t stress out. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Tap Tap Boom: a Multi-Touch floor Is Great for Creative Collaborative Music Production
Tap Tap Boom: A multi-touch floor is great for creative collaborative music production Jossekin Beilharz, Maximilian Schneider, Johan Uhle, David Wischner Hasso-Plattner Institute Prof.-Dr.-Helmert-Str. 2-3 14482 Potsdam, Germany fjossekin.beilharz, maximilian.schneider, johan.uhle, [email protected] ABSTRACT simultaneously. Therefore Tap Tap Boom offers a new per- Tap Tap Boom is a music production floor. It allows the user spective to music production. to create and edit music in an inspiring environment. Its si- ze encourages collaborative working. The user can use the input modes Step Sequencer, Groovebox and Pad to record music. One can arrange music in clips on a multi-track time- line. In addition to feet input we offer the usage of objects like bottles or saltshakers to interact with the system. Tap Tap Boom elevates creativity by providing a new approach to music production. Author Keywords music production, daw, multi-touch floor INTRODUCTION You can split electronic music production into three sequen- tial parts: In the beginning the musician composes. One ge- nerates and tests ideas. Inspiration and creativity play a key role at this stage. Afterwards the musician arranges the com- position and does the final recordings. The music is comple- Figure 1. On a large floor screen users can record and edit music colla- te. In the end the handcraft of mixing and mastering gives boratively using feet. the final touch to the sound and makes it ready for release. WALKTHROUGH There is a wide variety of tools which aid the process of Device electronic music production. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
MUSIC WEEK MARCH 16 1985 Edited by BARRY LAZELL ®0S
MUSIC WEEK MARCH 16 1985 Edited Reviewed by by BARRY LAZELL ®0S(§® JERRY SMITH SO® ms well thought out, melodic guitar over a slow, but punchy beat and Chart Certs is likely to do very well. RUN- D.M.C.; Kings Of Rock juanaatL Passion plays NIK KERSHAW: Wide Boy (MCA JENNY BURTON: Bad Habits NIK(T) 7, CBS). (Fourth & Broadway/Island Atlantic (12)BRW 21, EMI). Roaring heavy CHANGE: Let's Go Together ALISON MOYET: That Ole Devil rock orientated electro track with Cooltempo/Chrysalis Called Love (CBS (T)A 6044, quick fire rap and heavy metal T.C, CURTIS: You Should Have CBS). guitaring, over a solid rock beat. Known Better Hot Melt/Virgin STRAWBERRY SWITCHBLADE: EDDY & THE SOULBAND: Theme for Electricity Let Her Go (Korova KOW 39(T), Evolves into an impressive amal- From Shaft Club/Phonogram WEA). gam of styles that could give this JERMAINE JACKSON: Do What LEADING HI-NRG dance label rarities from the Musicor, Wand BILLY BRAGG: Between The duo a dance chart hit, You Do Arista Passion issues a new album this and Brunswick catalogues, to- Wars EP (Go! Discs AGOEP1, TEENA MARIE: Lovergirl (Epic LOOSE ENDS: Hangin' On A PolyGram). (T)A 4965, CBS). A smooth soul String (Contemplating) Virgin week which includes some of the wards the end of last year. track with an excellent strong PHYLLIS NELSON; Move Closer strongest output of last year from Another compilation, a double THE BOOTHILL FOOT-TAPPERS: vocal and a slick funk backing is Carrere another of the genre's most suc- album entitled Livin' The Night- Jealousy (Mercury/Phonogram beefed up by the sort of heavy NEW EDITION: Mr Telephone Man cessful suppliers, Stoke-on- life (S1NLP 2), with material taken PH 33 (1), PolyGram). -
2016 Asset Handbook TSX / NYSE
2016 Asset Handbook TSX / NYSE Franco-Nevada Corporation’s 2016 Asset Handbook is intended to assist investors and analysts in their understanding of our business and portfolio of assets. Franco-Nevada Corporation is the leading gold royalty and streaming company with the largest and most diversified portfolio of assets. The Company’s business model provides investors with gold price and exploration optionality with less exposure to operating risks. Franco-Nevada has no net debt and uses its free cash flow to expand its portfolio and pay dividends. It trades under the symbol FNV on both the Toronto and New York stock exchanges. Since its IPO, Franco-Nevada’s share price has outperformed the gold price and all relevant gold equity benchmarks. Franco-Nevada is the gold investment that works. Information relating to projects, properties and their owners and operators presented in this Asset Handbook has been sourced from the public disclosure of the owners and operators of our assets available as of March 9, 2016. More current information may be available in our subsequent disclosure and our website. This Asset Handbook contains information about many of our assets, including those that may not currently be material to us. Also, the description and depiction of our business and assets have been simplified for presentation purposes. This Asset Handbook should be read with reference to the explanatory notes and cautionary statements contained in the Additional Information section found at the end of this Asset Handbook. Please also refer to the additional supporting information and explanatory notes found in our Annual Information Form (“AIF”) and our Annual Report on Form 40-F available at www.sedar.com and www.sec.gov, respectively, and on our web site at www.franco-nevada.com.