Apache Sample Hip Hop
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Bulletin of the Center for Children's Books
I LL INI S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. Bulletin of the Center for Children's Books THE UNIVERSITY OF CHICAGO * GRADUATE LIBRARY SCHOOL Volume XVI April, 1963 Number 8 New Titles for Children and Young People M Agle, Nan (Hayden). The Lords Baltimore; by Nan Hayden Agle and Frances 6-9 Atchinson Bacon; illus. by Leonard Vosburgh. Holt, 1962. 134p. Trade ed. $3.50; Library ed. $3.27 net. A history of the six Lords Baltimore, beginning with the English background of George Calvert, created the first Lord Baltimore in 1617. The story of the Chesa- peake Bay grant is of interest because of the record of religious tolerance; the first Lord Baltimore had seen persecution in England and had become converted to his mother's faith, Catholicism. The historical material is authoritative, but the book covers so much history that the text is heavy with detail, fact, and anecdote. An extensive bibliography is appended. M Aliki. My Hands. Crowell, 1962. 34p. illus. (Let's Read-and-Find-Out 1 Books). Trade ed. $2.50; Library ed. $2.35 net. Bright and lively illustrations but a rather slight text for science information. The book points out that each finger in a hand is different, that the human hand has an opposable thumb, that hands are used for many tasks, and that parts of the hand are used in different ways. The information is at such a simple level, and is about such a familiar subject, that much of the text seems of little use. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Our August Club Night
Our August club night The house band Breakthru' opened up the evening as usual, we also saw them play last Wednesday at a nearby Club in Molesey where they had a chance to play a few non Shadows hits and explore some different sounds. I was first up to get it over and done with, not too good for me as I did not have much pratice and am only just getting full feeling back into my fingers. The Players Steve J – Apache, Wonderful Land Tony Knight – Foot Tapper, Cavatina (Theme from The Deer Hunter) Mike Norris – Theme from Shane, Mustang Bob Withrington – Rounding the Cape, Return to the Alamo John Cade – Shindig, Mountains of the Moon Alan Tarrant – Atlantis, Theme for Young Lovers Keith Humphries (visiting from South Africe) - The Savage, Peace Pipe John Bell – Cosy, Shadoogie (with Mark Winter on Drums) J. J. (visiting from USA) – Carolina on my Mind, Start the day Early Eugene McGuigan - Peace Pipe, Wonderful Land Robin Surridge with Jim on Rhythm – Lost City, Its a Mans World Stuart Osborne – Man of Mystery, Frightened City Gareth Morgan – Spring is nearly Here, Frightened City The Rock and Roll Section This featured Mark Winter on Drums, Alan Tarrant on Lead/Rhythm, Stuart Osborne on Lead/Vocals, Jim on Rhythm, Bob Withrington on Bass and Bob Dore on Keyboards – They played a selection of tunes including No Way to Go, Great Balls of Fire and Its Alright Mama. Barry Gibson took over Lead with Keith West on Vocals for Wicked Game, Folson Prison Blues and Little Sister. -
Hank Marvin Album HANK Set for Release 2Nd June 2014 Submitted By: Bennett Public Relations Thursday, 10 April 2014
Hank Marvin album HANK set for release 2nd June 2014 Submitted by: Bennett Public Relations Thursday, 10 April 2014 Hank Marvin, the legendary guitarist and modern day icon, who has inspired generations and garnered critical acclaim throughout his career for his work with The Shadows and as a solo artist, releases a long-awaited new studio album on 2 June 2014. Simply titled HANK, the album will be released on the DMG TV label. Featuring 14 tracks, HANK includes fresh interpretations of some of Marvin’s favourite summer-themed music, along with one new composition. It’s the first new release since 2007’s UK Top 10 Guitar Man, for the man whose legendary achievements were restated yet again in The Times in February 2014, when he was listed as Number 2, amongst the world’s greatest guitar players and The Shadows amongst the greatest groups! It’s been 60 years since the man who introduced the Fender Stratocaster to the UK, picked up his first musical instrument. Marvin’s performances as a solo frontman and with The Shadows on their records and backing Cliff Richard have resulted in millions of worldwide record sales. The Shadows’ monumental chart debut with Apache in 1960 started an incredible run of 13 UK Top 10 hits for the group in just 4 years, during which time their unmistakeable style became a household sound around the world. Hank and The Shadows ruled the charts during the early 1960s and as a solo artist from the late 1970s to the present day Hank Marvin has sold in excess of 6 million albums. -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Shoreham's Radar Station-Bookv2
The Story of RAF Truleigh Hill by Roy Taylor Copyright Aug. 2020 Page 1 of 107 Contents Introduction……………………………………………. 1 1. Radar Development………………………………... 3 2. Wartime…………………………………………….. 4 3. Poling………………………………………………. 20 4. GEE Navigational Aid……………………..............26 5. ROTOR Period – Technical Site………………….33 6. Stoney Lane Domestic Site……………………….. 43 7. Sport………………………………………………. .52 8. Commanding Officers…………………….…….. 57 9. Finding the Veterans…………………………….. .61 10. Local Involvement………………………………. 74 11. Later Developments……………………………... 77 Appendix 1 - Roll Call………………………… …… 81 Gallery…………………………............ 86 Appendix 2 – Other Sussex RAF Radar Stations….. 93 Appendix 3 – Further Reading……………………… 94 Appendix 4 – Technical Notes (CHEL) 95 Acknowledgements………………………………… 98 The Story of RAF Truleigh Hill by Roy Taylor Copyright Aug. 2020 Page 2 of 107 Shoreham’s Radar Station The Story of RAF Truleigh Hill Introduction The Story of RAF Truleigh Hill by Roy Taylor Copyright Aug. 2020 Page 3 of 107 It is over fifty years since I first set foot in Shoreham, as a 19-year-old radar operator at RAF Truleigh Hill. I served the final 15months of my compulsory period of National Service at this, the last of my six postings. On demob, I stayed in the area and have been here ever since. I have kept in contact with four of my former colleagues. Photos and memories come out for an airing every so often, but it is only in the last few years, however, that I have started to think seriously about the history of RAF Truleigh Hill. The radar operation started in 1940, just before The Battle of Britain, and continued in several different formats until closure in 1958. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
Dossier De Presse
Les Lionceaux au Golf Drouot en 1962 Le groupe de rock « LES LIONCEAUX » est né à Quatre Garçons dans le vent : Les Reims en 1961. Le Golf Drouot en 1962, l’émission Lionceaux adaptent les titres des d’Albert Raisner « Age Tendre et Tête de Bois » en Beatles en 1964 1963, puis des disques chouchous de la célèbre émission « Salut les Copains » comme « Quatre garçons dans le vent », « Je te veux tout à moi », ou « Je ne peux l’acheter », autant de titres adaptés des Beatles qui ont fait des Lionceaux l’un des groupes mythiques des années 60. Treize Lionceaux, dont Herbert Léonard, se sont succédés jusqu’à la séparation du groupe fin 1966, et c’est à l’occasion de la sortie du livre (décembre 2004)que leur a consacré Alain Dumont, le premier chanteur du groupe (en 1962 et 1963), que les Lionceaux se sont retrouvés avec l’envie de recommencer ! Depuis, les concerts se succèdent ... De novembre 1963 à septembre 1965, LES LIONCEAUX sortent sept 45 tours (pour un total de 28 titres), puis deux albums en 2005 et 2009, un single en 2008, un vinyle 33 tours en 2011 pour les 50 ans du groupe, et un single en 2013 LES LIONCEAUX REVIENNENT AUJOURD’HUI AVEC UN ALBUM EN HOMMAGE À CLIFF RICHARD ET AUX SHADOWS ! Retrouvez l’histoire des Lionceaux dans le livre paru en décembre 2004 : « Ils étaient une fois… LES LIONCEAUX » (O.U.E.) avec un CD collector offert. LES LIONCEAUX ( de gauche à droite) : Guy Follereau : Guitare basse et chant Denis Codfert : Batterie Willy (Alain) Dumont : Chant Stéphane Le Galloudec : Guitares Martial Henzelin : Claviers et chant Avec la participation amicale de Daniel Fouet à la basse (photo ci-contre) Le premier CD des Lionceaux Revival paru en décembre 2005 proposait un flash-back musical consacré à la période 1961-63. -
Remembering Lee Hazlewood 1929-2007 Live Gig Reviews
REMEMBERING LEE HAZLEWOOD 1929-2007 LIVE GIG REVIEWS SHADOZ 07 THE THUNDERBIRDS THE FUTURAS SYDNEY SHADZ TRIBUTE SHOW BRYAN BROWNE IN THE USA NEW CD’S including MARTIN CILIA / HANK MARVIN / THUNDERBIRDS / AL CASEY / BRYAN BROWNE / KIM HUMPHREYS & MORE! THE AVENGERS On Lead Guitar is NELLO GIANSIRACUSA, on Rhythm is SAM MANUELE, Bass Guitar is ROB WATSON and on drums, JOHN FAGNANI. Their set included a selection of Shadows' numbers, and proved a fine start to the day's entertainment. I have recently had to (hurriedly) find new accommodation. The owners of my flat wanted to Tracks played were: 36-24-36 / Shadoogie / Apache sell, so my time was limited (and, yes, I did pay the / South Of The Border / Guitar Tango / Riders In rent!!). I have spent the last few weeks packing and The Sky / Theme From 'The Deer Hunter' unpacking my 'worldly possessions', and having a (Cavatina) / Kon-Tiki / Foot Tapper / The Rise And giant 'cleanout' in the process. My new details are: Fall Of Flingel Bunt / F.B.I. / Perfidia / The Savage GEOFF JERMY, 9 Hughes Street, Hoppers Crossing, Vic, 3029. Phone (03) 9749 3223. Visitors are always welcome (Melway 202 E 12) but please SHADAMATAZ call first. JOHN BESHARA is on Lead Guitar, RUSSELL My email address ([email protected]) and BAIRD on Rhythm Guitar, DAN McLACHLAN is on mobile 0428 288 577 remain the same. Also on the Bass), JOHN HALL is manning the drum stool, and move is Ben Nestrell, who has decided to retire and JEFF MANNING is manning the keyboards. move to the sunnier climes of Nambucca Heads.