DOCSLIB.ORG

Nas It Was Written Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Nas It Was Written mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: It Was Written Country: US Released: 1996 MP3 version RAR size: 1463 mb FLAC version RAR size: 1468 mb WMA version RAR size: 1778 mb Rating: 4.1 Votes: 511 Other Formats: DTS ASF MP3 DXD AU MPC XM Tracklist Hide Credits Album Intro 1 2:28 Producer – Nas, TrackmastersWritten-By – N. Jones* The Message Engineer [Mix] – Rich TravaliMixed By – Poke And ToneProducer – Poke And 2 4:10 ToneScratches – D.J. Kid Capri*Written-By – N. Jones*, S. Barnes*Written-By [Uncredited] – Dominic Miller, Sting Street Dreams 3 Engineer [Mix] – Rich TravaliKeyboards – Delight , Delight Mixed By – Poke And 4:41 ToneProducer – Poke And ToneWritten-By – A. Lennox*, D. Stewart*, N. Jones*, S. Barnes* I Gave You Power 4 3:56 Engineer – Eddie SanchoProducer – DJ PremierWritten-By – C. Martin*, N. Jones* Watch Dem Niggas 5 Engineer [Mix] – Rich TravaliKeyboards – Delight Mixed By – Poke And ToneProducer – 4:06 Poke And ToneWritten-By – N. Jones*, S. Barnes* Take It In Blood Engineer [Mix] – Rich TravaliMixed By – Poke And ToneProducer – Live Squad, Lo Ground, 6 4:49 Top General SoundsWritten-By – C. Horne*, J.T. Epps, Jr.*, J. Pruitt*, N. Jones*, R. Walker*, W. Childs* Nas Is Coming 7 5:40 Engineer – Kelston RiceProducer – Dr. DreWritten-By – A. Young*, N. Jones* Affirmative Action Engineer [Mix] – Rich TravaliFeaturing – The Firm Keyboards – Dave AtkinsonMixed By – 8 4:20 Poke And ToneProducer – Dave Atkinson, Poke And ToneWritten-By – A. Cruz*, C. McKay*, I. Marchand*, J. Olivier*, N. Jones*, S. Banes* The Set Up 9 Engineer [Mix] – Mike FrondaFeaturing [Uncredited] – Havoc Producer – Havoc Written-By 4:26 – K. Muchita*, N. Jones* Black Girl Lost Engineer [Mix] – Bill Esses, Rich TravaliFeaturing [Featured Background Vocals] – Jojo 10 4:32 Hailey*Mixed By – Poke And ToneProducer – L.E.S.Producer [Additional Production] – Poke And ToneWritten-By – Mtume*, L. Lewis*, N. Jones*, Lucas* Suspect 11 Engineer [Mix] – Rich TravaliMixed By – Poke And ToneProducer – L.E.S.Written-By – L. 4:16 Lewis*, N. Jones* Shootouts 12 Engineer [Mix] – Rich TravaliMixed By – Poke And ToneProducer – Kirk Goddy, Poke And 3:46 ToneWritten-By – J. Olivier*, N. Jones*, S. Barnes* Live Nigga Rap 13 Engineer [Mix] – Ken "Duro" Ifle*Featuring – Mobb DeepProducer – Havoc Written-By – K. 3:46 Muchita*, N. Jones* If I Ruled The World (Imagine That) Engineer [Mix] – Rich TravaliFeaturing – Lauryn HillKeyboards – Delight Mixed By – Poke 14 4:44 And ToneProducer – Poke And ToneProducer [Additional Production] – Rashad SmithWritten-By – J. Olivier*, K. Walker*, N. Jones*, S. Barnes* Silent Murder (Bonus Track) 15 Engineer [Mix] – Rich TravaliMixed By – Poke And ToneProducer – Live Squad, Lo Ground, 3:25 Top General SoundsWritten-By – Romeo*, Brown*, N. Jones*, R. Walker* Companies, etc. Distributed By – Sony Music Copyright (c) – Sony Music Entertainment Inc. Phonographic Copyright (p) – Sony Music Entertainment Inc. Mastered At – Sterling Sound Recorded At – Soundtrack Studios Mixed At – The Hit Factory Recorded At – D&D Studios Mixed At – D&D Studios Recorded At – Bearsville Studios Recorded At – Dre's Crib Mixed At – Dre's Crib Recorded At – The Hit Factory Recorded At – Sony Music Studios, New York City Recorded At – Chung King Studios Recorded At – Westlake Studios Produced For – Trackmasters Entertainment Produced For – Works Of Mart, Inc. Produced For – Total Package Productions, Inc. Produced For – Tumblin' Dice Productions, Inc. Copyright (c) – Zomba Enterprises, Inc. Copyright (c) – Ill Will Music, Inc. Copyright (c) – Slamuwell Productions Copyright (c) – D 'n' A Ltd. Copyright (c) – BMG Music Publishing Ltd. Copyright (c) – BMG Songs, Inc. Copyright (c) – DJ Premier Publishing Copyright (c) – Grand Imperial Music Copyright (c) – Bridgeport Music, Inc. Copyright (c) – Ain't Nuthin' Goin' On But Fu-kin' Copyright (c) – Life's A Bitch Music Copyright (c) – 12 & Under Music Copyright (c) – Juvenile Hell Publishing Copyright (c) – Careers-BMG Music Publishing, Inc. Copyright (c) – Mawkeen's Music Copyright (c) – Famous Music Corporation Copyright (c) – Kuwa Music Copyright (c) – EMI Virgin Music, Inc. Pressed By – Sony Music – S0148419610-0101 Credits A&R [A&R Direction] – Faith Newman Art Direction, Design – Aimée Macauley Executive-Producer – Nas, Steve Stoute, Trackmasters Legal [Sample Clearances] – Nikki Johnson Of Sample That!!* Management – Steve Stoute Management [Administrative Assistance] – L'Oreal Coppedge*, Joy Burrell* Mastered By – Tom Coyne Photography By – Danny Clinch Notes On tracks 9 and 13 "Havoc" is credited as "Havoc Of Mobb Deep". On track 10 "Jojo Hailey" is credited as "Jojo Hailey Of Jodeci". Standard jewel case with clear tray & 12-page lyrics fold-out sheet. Track 3, 6, 15 recorded at Soundtrack Studios, NYC. Mixed at Hit Factory Studios, NYC. Track 4 recorded and mixed at D&D Studios, NYC. Track 5 recorded at Bearsville Studios, NYC. Mixed at Hit Factory Studios, NYC. Track 7 recorded mixed at Dre's House, LA Track 8, 9 recorded and mixed at Hit Factory Studios, NYC. Track 10 recorded at Sony Music Studios and Soundtrack Studios, NYC. Mixed at Hit Factory Studios, NYC. Track 11, 12, 13 recorded at Chung King Studios, NYC. Mixed at Hit Factory Studios, NYC. Track 14 recorded at Hit Factory Studios, NYC and Westlake Studios, LA. Mixed at Hit Factory Studios, NYC. Mastered at Sterling Sound, NYC. Track 3 is an interpolation of "Sweet Dreams" […] as performed by The Eurythmics. Also contains a portion of "Never Gonna Stop" as performed by Linda Clifford. Track 5 contains a portion of "Sponge" […] as performed by Earl Klugh. Track 6 contains a sample of "Mixed Up Moods & Attitudes" […] as performed by the Fantastic Four. Track 10 contains a sample of "Starlight" as performed by Stephanie Mills Track 11 contains a portion of "El Gatto Triste" as performed by Chuck Mangione. Track 14 contains portions of "Friends (Instrumental)" written by L. Parker and "If I Ruled The World" […] as performed by Kurtis Blow. Track 15 uses a sample of "Get A Life" as performed by Soul II Soul. © 1996 Sony Music Entertainment Inc. ℗ 1996 Sony Music Entertainment Inc. Made in Austria. Barcode and Other Identifiers Barcode (Text): 5 099748 419620 Barcode (Scanned): 5099748419620 Label Code: LC 0162 Matrix / Runout (Variant 1): S0148419610-0101 51 Matrix / Runout (Variant 2): S0148419610-0101 12 B5 Matrix / Runout (Variant 3): Sony Music S0148419610-0101 12 B6 Matrix / Runout (Variant 4): S0148419610-0101 12 B9 Matrix / Runout (Variant 5): S0148419610-0101 12 B12 Matrix / Runout (Variant 6): Sony Music S0148419610-0101 12 A 6 Mastering SID Code (Variant 1): IFPI L551 Mastering SID Code (Variant 3 to 6): IFPI L552 Mould SID Code (Variant 1): IFPI 944Q Mould SID Code (Variant 2): IFPI 948N Mould SID Code (Variant 3): IFPI 94C4 Mould SID Code (Variant 4): IFPI 94C1 Mould SID Code (Variant 5): IFPI 9412 Mould SID Code (Variant 6): IFPI 944B Price Code: CB 791 Rights Society: SACEM SACD SDRM SGDL Rights Society: BIEM Other (Format code): CDC Other: 01-484196-10 Other versions Category Artist Title (Format) Label Category Country Year It Was Written (CD, CK 67015 Nas Columbia CK 67015 US 1996 Album) It Was Written (LP, 484196 1 Nas Columbia 484196 1 Europe 1996 Album) 484196 2, col Columbia, 484196 2, col It Was Written (CD, 484196 2, Nas Columbia, 484196 2, Europe 1996 Album) 4841962011 Columbia 4841962011 It Was Written (Clean none Nas Whitfield Street none UK 1996 Version) (CDr, Album) It Was Written (Clean CK 67745 Nas Columbia CK 67745 US 1996 Version) (CD, Album) Comments about It Was Written - Nas SlingFire Please, 20th anniversary LP reissue album for older fans. PLZ Related Music albums to It Was Written by Nas Nas - If I Ruled The World Rich Jones - Turning Of The Tide E.P. Diamond K Presents Lil Lucky / C.I.A - Between U & Me Various - Country Originals Vol.2 Benny Barnes, George Jones - Poor Old Me Sweet Smoke - Just A Poke Pearls For Pigs - A Pig In A Poke Mutado Pintado, jonathan dryden - Poke A Hole, Let It Flow (Musical Book) Various - A Poke In The Eye (With A Sharp Stick) Cleo Brown - Latch On / Slow Poke.
Recommended publications

  • TONY TOCA Text & Photos by Joel Marasigan

    requiredaudio.dept.02 FOREVER NOW - Natalise - 888 Records The long awaited debut album from Natalise is here. She first broke into the scene last year with her sin- gle “Love goes On’ from the 888 Records Import Jams compilation. Natalise’s debut album Forever Now bring an exciting energy to the world of pop dance music. She’s collaborated with producers that music, Malyssa answers, “I want my music to get worked with Jocelyn Enriquez, kai and One Vo1ce. people excited at my shows and onto the dance floor Her sound and look is sure to captivate. Her sweet at night. People will see that my songs are fun and voice highlights uptempo pop dance tracks and love energetic, yet have deep lyrical substance that will songs. 888entertainment.com make you think.” Her single “Reminisce” dropped on radio on in February and received instant phones on REMINISCE - Malyssa - Rhythm Drive Records Wild 94.9 KYLD (San Francisco). At the time Rhythm Drive Records introduces MALYSSA - the “Reminisce” was the #2 most requested song newest dance vocalist to take on the music industry. throughout the Bay Area! “Reminisce” is also receiv- Born in Oakland California and raised in the Central ing airplay in Monterey, Modesto, Fresno, Seattle, and Valley, Malyssa aims to make people take notice. Hawaii! Soon to be a classic dance track, Dance artists like Jocelyn (Enriquez), M:G and “Reminisce” defiantly put Malyssa on the map. Angelina have inspired her. When asked about her malyssa.com. brownjungle.com INTERVIEW: TONY TOCA Text & Photos by Joel Marasigan I got a hook up for this interview by the homies Wes and Brian at Toyota.
  • Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies

    Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies

    M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams.
  • To Israelite

    To Israelite

    From ‘Proud Monkey’ to Israelite Tracing Kendrick Lamar’s Black Consciousness Thesis by Romy Koreman Master of Arts Media Studies: Comparative Literature and Literary Theory Supervisor: Dr. Maria Boletsi Leiden University, April 2019 2 Contents Introduction .................................................................................................................................................. 5 Chapter 1: Theoretical framework ............................................................................................................. 9 W.E.B. Du Bois’ double-consciousness ............................................................................................... 9 Regular and critical double-consciousness ......................................................................................... 13 Chapter 2: To Pimp A Butterfly ................................................................................................................... 17 “Wesley’s Theory”.................................................................................................................................. 18 “Institutionalized” .................................................................................................................................. 20 “Alright” .................................................................................................................................................. 23 “Complexion” ........................................................................................................................................
  • TUNECODE WORK TITLE Value Range 289693DR

    TUNECODE WORK TITLE Value Range 289693DR

    TUNECODE WORK_TITLE Value Range 289693DR It S Everyday Bro ££££ 329418BM Boys Are So Ugh ££££ 060461CU Sex On Fire ££££ 258202LN Liar Liar ££££ 2680048Z Willy Can You Hear Me? ££££ 128318GR The Way ££££ 217278AV Better When I'm Dancing ££££ 223575FM I Ll Show You ££££ 188659KN Do It Again ££££ 136476HS Courtesy Call ££££ 224684HN Purpose ££££ 017788KU Police Escape ££££ 065640KQ Android Porn (Si Begg Remix) ££££ 189362ET Nyanyanyanyanyanyanya! ££££ 191745LU Be Right There ££££ 236174HW All Night ££££ 271523CQ Harlem Spartans - (Blanco Zico Bis Tg Millian Mizormac) ££££ 237567AM Baby Ko Bass Pasand Hai ££££ 099044DP Friday ££££ 5416917H The Big Chop ££££ 263572FQ Nasty ££££ 065810AV Dispatches ££££ 258985BW Angels ££££ 031243LQ Cha-Cha Slide ££££ 250248GN Friend Zone ££££ 235513CW Money Longer ££££ 231933KN Gold Slugs ££££ 221237KT Feel Invincible ££££ 237537FQ Friends With Benefits (Fwb) ££££ 228372EW Election 2016 ££££ 177322AR Dancing In The Sky ££££ 006520KS I Wish I Knew How It Would Feel To Be Free ££££ 153086KV Centuries ££££ 241982EN I Love The 90s ££££ 187217FT Pony (Jump On It) ££££ 134531BS My Nigga ££££ 015785EM Regulate ££££ 186800KT Nasty Freestyle ££££ 251426BW M.I.L.F. $ ££££ 238296BU Blessings Pt. 1 ££££ 238847KQ Lovers Medley ££££ 003981ER Anthem ££££ 037965FQ She Hates Me ££££ 216680GW Without You ££££ 079929CR Let's Do It Again ££££ 052042GM Before He Cheats ££££ 132883KT Baraka Allahu Lakuma ££££ 231618AW Believe In Your Barber ££££ 261745CM Ooouuu ££££ 220830ET Funny ££££ 268463EQ 16 ££££ 043343KV Couldn't Be The Girl
  • Hip Hop As Oral Literature Patrick M

    Hip Hop As Oral Literature Patrick M

    Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance.
  • "What Is an MC If He Can't Rap?"

    "What Is an MC If He Can't Rap?"

    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics.
  • "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M

    "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude.
  • BOOTLEG THIS JOURNAL 1 2 WORDS.BEATS.LIFE from Party Tape to MP3 Download: Also in This Issue: 8A Cultural History of the Mixtape Mixtape Inc

    BOOTLEG THIS JOURNAL 1 2 WORDS.BEATS.LIFE from Party Tape to MP3 Download: Also in This Issue: 8A Cultural History of the Mixtape Mixtape Inc

    BOOTLEG THIS JOURNAL 1 2 WORDS.BEATS.LIFE From Party Tape to MP3 Download: also in this issue: 8A Cultural History of the Mixtape Mixtape Inc. and the Definitive Incorporation by nick schonberger 14 of Dissent Culture By Jared A. Ball, Ph.D Lights, Camera, Social Action!: 16Ten Media Makers You Should Know Scruples by martha diaz 21 By Joe Young Freemix Radio: True Patroits: Senegal’s Voice of 38The Mixtape as Emancipitory Journalism 22 Dissent By. Jarad A. Ball, Ph.D By Yahsmin Mayaan Binti BoBo The Ellis Report: 58Screw Vs. Clue QD3 Interview By Jason Nichols 30By Nick Schonberger Featured Visual Artist: 60Pen And Pixel The Bootleg Interview By Gary Warnett Introduction By Zach Leffers 48 Art Under Pressure: 62Kid Gets Busy,The Untold Story of DJ OSO FRESH Mixtape and Insurgent Economies: By Cory Stowers 54Piracy and the Struggle Against Urban Dispossession Bumrush The Boards 68 By Mazi Mutafa and Lester Walace By Robert Choflet The Words Beats & Life Global Journal of Hip Hop Culture provides opinions and reference sources for those interested in hip- hop culture and music. While we aim to ensure that all published information is accurate at all times, any individual or organization making use of this content does so at their own risk. The Words Beats & Life Global Journal of Hip-Hop Culture and Words Beats & Life, Incorporated take no responsibility for any actions resulting from use of content in this publication. The views expressed in the journal do not necessarily, reflect the opinions or views of Words Beats & Life, Incorporated as an organization.
  • UC Irvine Electronic Theses and Dissertations

    UC Irvine Electronic Theses and Dissertations

    UC Irvine UC Irvine Electronic Theses and Dissertations Title Rap Lyrics as Evidence: An Examination of Rap Music, Perceptions of Threat, and Juror Decision Making Permalink https://escholarship.org/uc/item/2c6478vr Author Dunbar, Adam Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Rap Lyrics as Evidence: An Examination of Rap Music, Perceptions of Threat, and Juror Decision Making DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Criminology, Law and Society by Adam Dunbar Dissertation Committee: Professor Charis Kubrin, Co-chair Professor Nicholas Scurich, Co-char Professor William Thompson 2017 © 2017 Adam Dunbar Table of Contents List of Figures ........................................................................................................................................... ii List of Tables .............................................................................................................................................iii Acknowledgments ..................................................................................................................................... iv Curriculum Vitae ...................................................................................................................................... v Abstract of The Dissertation ...................................................................................................................
  • Nas 1 for Other Uses, See Nas (Disambiguation). Nasir Bin Olu Dara Jones (/Nɑːˈsɪər/; Born September 14, 1973), Better Know

    Nas 1 for Other Uses, See Nas (Disambiguation). Nasir Bin Olu Dara Jones (/Nɑːˈsɪər/; Born September 14, 1973), Better Know

    Nas 1 Nas For other uses, see Nas (disambiguation). Nas Nas performing in Paris, France, July 2014 Background information Birth name Nasir bin Olu Dara Jones Also known as Nasty Nas Escobar Born September 14, 1973 Crown Heights, Brooklyn, New York, U.S. Origin Queensbridge, Queens, New York, U.S. Genres Hip hop Occupations Rapper, actor Instruments Vocals, sampler Years active 1991–present Labels The Jones Experience, Def Jam (current) Columbia, Ill Will Records (former) Associated acts 3rd Bass, AZ, Bravehearts, Damian Marley, The Firm, Kelis, Mobb Deep [1] Website Nasir Jones Nasir bin Olu Dara Jones (/nɑːˈsɪər/; born September 14, 1973), better known as Nas /ˈnɑːz/, is an American rapper, songwriter and actor. He is the son of jazz musician Olu Dara. Since 1994, Nas has released eight consecutive platinum and multi-platinum albums and sold over 25 million records worldwide. Aside from rapping and acting, Nas is an entrepreneur through his own record label, retail sneaker store, and magazine publishing. He serves as Mass Appeal Magazine's associate publisher as well as an owner of a Fila sneaker store. He is currently signed to Def Jam Recordings. His musical career began in 1991 when he was featured on Main Source's track "Live at the Barbeque". His debut album Illmatic, released in 1994, received universal acclaim from both critics and the hip hop community. It is frequently ranked as one of the greatest hip hop albums of all time. His follow-up album It Was Written debuted at number 1 on the Billboard Charts, stayed on top for four consecutive weeks, went platinum twice in only two Nas 2 months, and made Nas internationally known.[2][3] From 2001 to 2005, Nas was involved in a highly publicized feud with rapper Jay-Z.
  • We Live This Shit Rap As a Reflection of Reality for Inner City Youth

    We Live This Shit Rap As a Reflection of Reality for Inner City Youth

    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2011 We Live This Shit Rap As A Reflection Of Reality orF Inner City Youth Parag Patel University of Central Florida Part of the Sociology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Patel, Parag, "We Live This Shit Rap As A Reflection Of Reality orF Inner City Youth" (2011). Electronic Theses and Dissertations, 2004-2019. 1790. https://stars.library.ucf.edu/etd/1790 WE LIVE THIS SHIT: RAP AS A REFLECTION OF REALITY FOR INNER CITY YOUTH by PARAG PATEL B.A. University of Central Florida, 2008 A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2011 ©2011 Parag Patel ii ABSTRACT Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics.
  • The Hip Hop Lectures (Volume 1) By: Dr

    The Hip Hop Lectures (Volume 1) By: Dr

    The Hip Hop Lectures (Volume 1) By: Dr. T.L. Osborne Table of Contents Introduction: Why Am I Writing This Book? Chapter 1: Page 1 African Music History: The Originators Chapter 2: Page 27 The Party is Over: A New Journey Without Beats & Freedom Chapter 3: Page 44 From Hopeless to Hopeful: The Power of Spirituals & The Impacts of Lynch, Tubman, and Turner Chapter 4: Page 82 Sold Out, But Not Necessarily a Sell-Out Chapter 5: Page 104 The Harlem Renaissance: Short-Lived With Long-Term Impacts Chapter 6: Page 216 Rock-N-Roll Ain’t Just White People’s Music Chapter 7: Page 228 The Civil Rights Movement: Fantasy versus Reality Chapter 8: Page 276 The Rise of Post-Civil Rights Movements: The Emergence of The Black Arts Movement & The Black Panther Party Chapter 9: Page 292 Soulless to Soulful: The Impact of Berry Gordy & Motown on Hip Hop Culture i Chapter 1 African Music History: The Originators Historically, Hip Hop culture is known to have started in New York; during the early 1970s. However, controversy surrounds which specific area in New York created the cultural phenomenon, called Hip Hop. The history concerning which part of New York created this influential and multi-billion dollar movement is documented in 1985. The battle rap included rappers from Queensbridge (MC Shan & The Juice Crew) versus rappers from the South Bronx (KRS-One & Boogie Down Productions). Even though, New York, is noted as the birthplace for Hip Hop culture, Hip Hop’s roots were developed before one city or state declared ownership of the cultures’ creation.