Featured Writer... Fafara Concludes, "These Five Souls Make This Band What It Is
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The Clique Song List 2000
The Clique Song List 2000 Now Ain’t It Fun (Paramore) All About That Bass (Meghan Trainor) American Boy (Estelle & Kanye West) Applause (Lady Gaga) Before He Cheats (Carrie Underwood) Billionaire (Travie McCoy & Bruno Mars) Birthday (Katy Perry) Blurred Lines (Robin Thicke) Can’t Get You Out Of My Head (Kylie Minogue) Can’t Hold Us (Macklemore & Ryan Lewis) Clarity (Zedd) Counting Stars (OneRepublic) Crazy (Gnarls Barkley) Dark Horse (Katy Perry) Dance Again (Jennifer Lopez) Déjà vu (Beyoncé) Diamonds (Rihanna) DJ Got Us Falling In Love (Usher & Pitbull) Don’t Stop The Party (The Black Eyed Peas) Don’t You Worry Child (Swedish House Mafia) Dynamite (Taio Cruz) Fancy (Iggy Azalea) Feel This Moment (Pitbull & Christina Aguilera) Feel So Close (Calvin Harris) Find Your Love (Drake) Fireball (Pitbull) Get Lucky (Daft Punk & Pharrell) Give Me Everything (Tonight) (Pitbull & NeYo) Glad You Came (The Wanted) Happy (Pahrrell) Hey Brother (Avicii) Hideaway (Kiesza) Hips Don’t Lie (Shakira) I Got A Feeling (The Black Eyed Peas) I Know You Want Me (Calle Ocho) (Pitbull) I Like It (Enrique Iglesias & Pitbull) I Love It (Icona Pop) I’m In Miami Trick (LMFAO) I Need Your Love (Calvin Harris & Ellie Goulding) Lady (Hear Me Tonight) (Modjo) Latch (Disclosure & Sam Smith) Let’s Get It Started (The Black Eyed Peas) Live For The Night (Krewella) Loca (Shakira) Locked Out Of Heaven (Bruno Mars) More (Usher) Moves Like Jagger (Maroon 5 & Christina Aguliera) Naughty Girl (Beyoncé) On The Floor (Jennifer -
Chart: Top50 AUDIO URBAN
Chart: Top50_AUDIO_URBAN Report Date (TW): 2012-11-18 --- Previous Report Date(LW): 2012-11-11 TW LW TITLE ARTIST GENRE RECORD LABEL 1 1 Ball (clean) T.i. Ft Lil Wayne Hip Hop Grand Hustle Records / Atlantic 2 3 Poetic Justice (dirty) Kendrick Lamar Ft Drake Hip Hop Interscope Records 3 2 Ball (dirty) T.i. Ft Lil Wayne Hip Hop Grand Hustle Records / Atlantic 4 4 Ball (instrumental) T.i. Ft Lil Wayne Hip Hop Grand Hustle Records / Atlantic 5 6 Adorn (dj Tedsmooth Remix) Miguel Ft Diddy & French Montana Hip Hop RCA Records 6 5 911 (clean) Rick Ross Ft 2 Chainz Hip Hop MayBach Music 7 7 Adorn (dj Tedsmooth Remix) (clean) Miguel Ft Puff Daddy And French Montana R&b RCA Records 8 8 Birthday Song Remix (clean) 2 Chainz Ft Diddy & Rick Ross Hip Hop Island Def Jam Records 9 13 Poetic Justice (clean) Kendrick Lamar Ft Drake Hip Hop Interscope Records 10 15 F_ckin Problems (dirty) Asap Rocky Ft Drake, 2 Chainz And Kendrick LamarHip Hop RCA Records 11 9 911 (dirty) Rick Ross Ft 2 Chainz Hip Hop MayBach Music 12 10 Birthday Song Remix (dirty) 2 Chainz Ft Diddy & Rick Ross Hip Hop Island Def Jam Records 13 11 Believe It (dirty) Meek Mill Ft Rick Ross Hip Hop Maybach Music Group 14 12 Dont Make Em Like You (clean) Neyo Ft Wiz Khalifa R&b Island Def Jam Records 15 17 Get Right (clean) Young Jeezy Hip Hop Island Def Jam Records 16 18 Bands A Make Her Dance (dirty) Trey Songz Hip Hop Atlantic Records 17 20 Dump Truck (clean) E 40 And Too Short Ft Travis Porter Hip Hop Sick Wit It Records 18 32 Guap (dirty) Big Sean Hip Hop island Def Jam Records 19 30 Poetic Justice (instrumental) Kendrick Lamar Ft Drake Hip Hop Interscope Records 20 22 Bandz A Make Her Dance (instrumental) Juicy J Ft Lil Wayne And 2 Chainz Hip Hop Hypnotize Minds 21 21 Compton (dirty) Kendrick Lamar Ft Dr. -
Mick Evans Song List 1
MICK EVANS SONG LIST 1. 1927 If I could 2. 3 Doors Down Kryptonite Here Without You 3. 4 Non Blondes What’s Going On 4. Abba Dancing Queen 5. AC/DC Shook Me All Night Long Highway to Hell 6. Adel Find Another You 7. Allan Jackson Little Bitty Remember When 8. America Horse with No Name Sister Golden Hair 9. Australian Crawl Boys Light Up Reckless Oh No Not You Again 10. Angels She Keeps No Secrets from You MICK EVANS SONG LIST Am I Ever Gonna See Your Face Again 11. Avicii Hey Brother 12. Barenaked Ladies It’s All Been Done 13. Beatles Saw Her Standing There Hey Jude 14. Ben Harper Steam My Kisses 15. Bernard Fanning Song Bird 16. Billy Idol Rebel Yell 17. Billy Joel Piano Man 18. Blink 182 Small Things 19. Bob Dylan How Does It Feel 20. Bon Jovi Living on a Prayer Wanted Dead or Alive Always Bead of Roses Blaze of Glory Saturday Night MICK EVANS SONG LIST 21. Bruce Springsteen Dancing in the dark I’m on Fire My Home town The River Streets of Philadelphia 22. Bryan Adams Summer of 69 Heaven Run to You Cuts Like A Knife When You’re Gone 23. Bush Glycerine 24. Carly Simon Your So Vein 25. Cheap Trick The Flame 26. Choir Boys Run to Paradise 27. Cold Chisel Bow River Khe Sanh When the War is Over My Baby Flame Trees MICK EVANS SONG LIST 28. Cold Play Yellow 29. Collective Soul The World I know 30. Concrete Blonde Joey 31. -
A Discography of Robert Burns 1948 to 2002 Thomas Keith
Studies in Scottish Literature Volume 33 | Issue 1 Article 30 2004 A Discography of Robert Burns 1948 to 2002 Thomas Keith Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Keith, Thomas (2004) "A Discography of Robert Burns 1948 to 2002," Studies in Scottish Literature: Vol. 33: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol33/iss1/30 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Thomas Keith A Discography of Robert Bums 1948 to 2002 After Sir Walter Scott published his edition of border ballads he came to be chastised by the mother of James Hogg, one Margaret Laidlaw, who told him: "There was never ane 0 my sangs prentit till ye prentit them yoursel, and ye hae spoilt them awthegither. They were made for singing an no forreadin: butye hae broken the charm noo, and they'll never be sung mair.'l Mrs. Laidlaw was perhaps unaware that others had been printing Scottish songs from the oral tradition in great numbers for at least the previous hundred years in volumes such as Allan Ramsay's The Tea-Table Miscellany (1723-37), Orpheus Caledonius (1733) compiled by William Thompson, James Oswald's The Cale donian Pocket Companion (1743, 1759), Ancient and Modern Scottish Songs (1767, 1770) edited by David Herd, James Johnson's Scots Musical Museum (1787-1803) and A Select Collection of Original Scotish Airs (1793-1818) compiled by George Thompson-substantial contributions having been made to the latter two collections by Robert Burns. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
The Good 5 Cent Cigar (10/5/2012) University of Rhode Island
University of Rhode Island DigitalCommons@URI The Good 5 eC nt Cigar (Student Newspaper) University Archives 10-5-2012 The Good 5 Cent Cigar (10/5/2012) University of Rhode Island Follow this and additional works at: http://digitalcommons.uri.edu/cigar Recommended Citation University of Rhode Island, "The Good 5 eC nt Cigar (10/5/2012)" (2012). The Good 5 Cent Cigar (Student Newspaper). Book 10. http://digitalcommons.uri.edu/cigar/10http://digitalcommons.uri.edu/cigar/10 This Book is brought to you for free and open access by the University Archives at DigitalCommons@URI. It has been accepted for inclusion in The Good 5 Cent Cigar (Student Newspaper) by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. THE UNIVERSITY OF RHODE ISLAND STUDENT NEWSPAPER SINCE 1971 Volume62 © 'Just what this country needs ' Friday · Issue 16 www.ramcigar.com . October 5, 2012 Nursing. school names interim Political science ·class puts Dean, searches for replacement focus on election campaigns BY KIMBE;RLY DELANDE Island], we're making steady said the College of Nursing News Reporter BY GILDA CENTENO exactly how the system progress," Sullivan said. has made it their initiative to Contributing News Reporter · works," Pearson ~aid . "We're responding to the not just teach students, but University of Rhode · An interestiry~ fact in the IOM' s report by looking at ensure that they are getting Political science professor speCifics . of vote'r hi'rnout, is Island nursing professor, our eurriculum and working experience out on. the field: Shanna Pearson ~ Merkowitz the' difficulties that jlre in · nurse-scientist and scholar to increase the number of Nursing students currently Mary Sullivan has been challenge to Univers·i,ty of pface when voting in ( the · nurses with bachelor degrees gain these skills by learning Rhode Island students in her Unit~d States. -
Afrofuturism: the World of Black Sci-Fi and Fantasy Culture
AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black .................................. -
Black Rob Album
Black Rob Album Black Rob Album 1 / 2 In honor of the occasion, Flashback Friday becomes FlashBLACK Friday today. Let these albums serve as your shopping soundtrack. Blackstreet ... Find many great new & used options and get the best deals for Life Story [PA] by Black Rob (CD, May-2005, Bad Boy Entertainment) at the best online prices at ... black friday black friday, black wallpaper, black color, black ops 4, black background, black screen, black kdrama, black panther, blackpink, blackboard, black Rob's hit single "Woah" set up the release for his platinum selling album "Life Story". Since then Rob has fell on hard times with prison sentence .... But now he's back, feeding the streets' hip-hop hunger with his latest release, “The Black Rob Report” (Bad Boy/Atlantic Records). With his .... A number of songs from The Black Rob Report fell victim to sample issues and had to be replayed ... A.K.A. 'Gun Clappin', another lead-up to the second album. ... LIfe Story got 5 mics…one of my top 10 albums. is BR home?. Rob, born Robert Ross, is the Harlem-born rapper who was signed to Bad Boy and released his debut Life Story in 1999. Although the album .... The veteran rhymer just released a new single “Welcome to My Life,” off his new album, Genuine Article, which drops later this month. On “ ... black color Bad Boy Records rapper Black Rob began his recording career appearing on albums like the Cru's Da Dirty 30 and collaborating with artists like L.O.X., Busta .... His sophomore album, "The Black Rob Report, was released in October 2005 by Bad Boy/Atlantic and debuted at No. -
Read Ebook {PDF EPUB} I Punched the Bad Boy by KMMY G "Bit a Bad Boy" Lyrics
Read Ebook {PDF EPUB} I Punched The Bad Boy by KMMY G "Bit A Bad Boy" lyrics. Don't be late Break the weight I'm the marvelous mate Dave, that's my name Gonna go by the flow Gonna play the game Gonna roll the dice - once or twice Pushing on a feeling nice, you got me right Me and the guys, yeah - busting in time When I turned my life, to a life of rhyme Hold on tight, we need the sound to survive. If this is true, I thought then, what will I think Will I stay but rather I would get away I'm scared that I won't find a thing. And afraid that I'll turn out to be alone, but I I have to learn, have to try, have to trust. I have to cry Have to see, have to know that I can be myself. Pull up the shots So we come dancing down! Bit a bad boy, yeah! Take the good with the bad, the rough with the smooth You've got everything to gain and nothing to lose Bit a bad boy, pass the mic. Hold on tight, we need the sound to survive. I have to learn, have to try, have to trust. I have to cry Have to see, have to know that I can be myself. We never stop Gonna go by the flow We'll never get enough Gonna make you flyyyy. In fact, this tune is gonna be massive You got me right, hold on tight! Yeah! Hold on tight! Take the good with the bad, the rough with the smooth. -
Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research. -
Edition 9 | 2018-2019
TABLE OF THE BUSHNELL CENTER CONTENTS for the PERFORMING ARTS TRUSTEE OFFICERS Message from the President & CEO ..................... 5 Jay S. Benet Chair Come From Away Robert E. Patricelli Co-Sponsored by Immediate Past Chair People’s United Bank and Travelers .................. 11 Thomas O. Barnes Vice Chair The Sound of Music Jeffrey N. Brown Sponsored by Vice Chair Voya Financial ................................................... 21 Jeffrey S. Hoffman Vice Chair Annual Fund Donor Honor Roll ......................... 32 David G. Nord Vice Chair An Extra Special Thank You ............................... 37 David M. Roth Vice Chair The Bushnell Services ....................................... 43 Henry M. Zachs Vice Chair Arnold C. Greenberg Treasurer Mark N. Mandell Assistant Treasurer Eric D. Daniels Secretary EXECUTIVE STAFF David R. Fay President and CEO Ronna L. Reynolds Executive Vice President Elizabeth Casasnovas Vice President, Development, and Chief Development Officer Patti Jackson Vice President, Finance, and Chief Financial Officer Yolande Spears Senior Vice President, Education and Community Initiatives Ric Waldman Vice President, Programming and Marketing The Bushnell is a 501(c)(3) not-for-profit organization that is proud to serve Connecticut and its citizens. | 3 MESSAGE FROM THE PRESIDENT & CEO A Look Ahead Spring has season next June. And as enticing as season finally arrived, and as that is, we were also able to tease the news it’s a particularly that Hamilton will return to The Bushnell in exciting time of year our 2020/2021 season. at The Bushnell. Our 2018/2019 season is If you’re a season-ticket holder, you should in full swing; we’ve got already have your renewal packet. If you’re two Broadway shows this month – current interested in becoming one, just contact our hit Come from Away, still going strong on box office and we’ll begin selling new series Broadway, and a classic audience favorite, packages this summer. -
Why Hip-Hop Is Queer: Using Queer Theory to Examine Identity Formation in Rap Music
Why Hip-Hop is Queer: Using Queer Theory to Examine Identity Formation in Rap Music Silvia Maria Galis-Menendez Advisor: Dr. Irene Mata Submitted in Partial Fulfillment of the Prerequisite for Honors in the Department of Women’s and Gender Studies May 2013 © Silvia Maria Galis-Menendez 2 Table of Contents Introduction 3 “These Are the Breaks:” Flow, Layering, Rupture, and the History of Hip-Hop 6 Hip-Hop Identity Interventions and My Project 12 “When Hip-Hop Lost Its Way, He Added a Fifth Element – Knowledge” 18 Chapter 1. “Baby I Ride with My Mic in My Bra:” Nicki Minaj, Azealia Banks and the Black Female Body as Resistance 23 “Super Bass:” Black Sexual Politics and Romantic Relationships in the Works of Nicki Minaj and Azealia Banks 28 “Hey, I’m the Liquorice Bitch:” Challenging Dominant Representations of the Black Female Body 39 Fierce: Affirmation and Appropriation of Queer Black and Latin@ Cultures 43 Chapter 2. “Vamo a Vence:” Las Krudas, Feminist Activism, and Hip-Hop Identities across Borders 50 El Hip-Hop Cubano 53 Las Krudas and Queer Cuban Feminist Activism 57 Chapter 3. Coming Out and Keepin’ It Real: Frank Ocean, Big Freedia, and Hip- Hop Performances 69 Big Freedia, Queen Diva: Twerking, Positionality, and Challenging the Gaze 79 Conclusion 88 Bibliography 95 3 Introduction In 1987 Onika Tanya Maraj immigrated to Queens, New York City from her native Trinidad and Tobago with her family. Maraj attended a performing arts high school in New York City and pursued an acting career. In addition to acting, Maraj had an interest in singing and rapping.