Dr. Dre Nuthin' but a 'G' Thang / Let Me Ride Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Dr. Dre Nuthin' But A 'G' Thang / Let Me Ride mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Nuthin' But A 'G' Thang / Let Me Ride Country: Europe Released: 1994 Style: Thug Rap, Gangsta MP3 version RAR size: 1845 mb FLAC version RAR size: 1597 mb WMA version RAR size: 1327 mb Rating: 4.2 Votes: 511 Other Formats: MPC XM WAV AHX VOC MP2 RA Tracklist 1 Nuthin' But A 'G' Thang (Radio Mix) 3:56 2 Let Me Ride (Radio Mix) 4:22 3 Nuthin' But A 'G' Thang (Club Mix) 4:38 4 Let Me Ride (Extended Club Mix) 11:01 Credits Producer, Mixed By – Dr. Dre Vocals – Dr. Dre Vocals [Additional] – Jewell* (tracks: 2, 4), Ruben* (tracks: 2, 4), Snoop* (tracks: 1, 3) Written-By – REX* (tracks: 2, 4), Snoop* Barcode and Other Identifiers Barcode (Text): 7 6544-95961-2 4 Barcode (String): 765449596124 Other (Distribution Code): France: CA773 Label Code: LC 6406 Rights Society: GEMA/BIEM Other versions Category Artist Title (Format) Label Category Country Year Interscope Records, Nuthin' But A G PVL 53816 Dr. Dre Death Row Records PVL 53816 US 1993 Thang (12") , Priority Records Nuthin' But A 'G' Interscope Records, P4JM 53819 Dr. Dre Thang (Cass, P4JM 53819 US 1993 Priority Records Single) Nuthin' But A "G" Priority Records, PVL 53816, none Dr. Dre Thang (12", Interscope Records, PVL 53816, none US 1993 Single, RP) Death Row Records Nuthin' But A "G" A8427 Dr. Dre Interscope Records A8427 UK 1993 Thang (7") Nuthin' But A 'G' Atlantic, Interscope 7567-96057-2 Dr. Dre Thang (CD, 7567-96057-2 Australia 1993 Records Single) Related Music albums to Nuthin' But A 'G' Thang / Let Me Ride by Dr. Dre Shakti - Do The Thang Thang Dr. Dre - The Chronicle (The Best Of The Works...) Snoop Doggy Dogg - Gin And Juice DL - We Got Our Own Thang / My Mother Various - Rolling With Tha Row - Death Row Records In Store Sampler Snoop Dogg - Still A G Thang Dr. Dre - Nuthin' But A "G" Thang Various - Death Row Records Sampler.

Copy Link

Recommended publications

Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak- Land: University of California Press
Kajikawa, Loren. 2015. Sounding Race in Rap Songs. Oak- land: University of California Press. Reviewed by Tracy McMullen In 1991, Scott Deveaux warned that an “official history of jazz had taken hold,” aided and abetted by the work of academics. From a “chaotic di- versity of style and expression” came a “coherent whole, . a skillfully contrived and easily comprehended narrative” (525). Deveaux attributed this primarily to textbooks, which reinforced the narrative of neat stylistic decades (1920s New Orleans jazz, 1930s Swing, 1940s Bebop, etc.) and the institutionalization of jazz studies within colleges and universities. Because jazz was a relatively recent art form, Deveaux could watch the official his- tory develop and cohere before his eyes. Now it may be hip-hop’s turn. Like jazz, hip-hop is a new art form minted in the United States through the ex- pressive practices of African Americans. The rise of hip-hop has been con- current with the rise of ethnic studies departments and, more recently, the inclusion of popular music as a serious field of study in the academy. Thus, while jazz studies took decades to be accepted as a legitimate field within music departments, hip-hop studies is better positioned to find its way into a multitude of academic disciplines. It is important, therefore, to take les- sons from the development of jazz studies as the field of hip-hop studies takes shape. Is it possible for hip-hop studies to resist the model of “official history” with monograph-style counters from the margins (“women in hip-hop,” “Latinx in hip-hop”)? What would the field look like if scholars could collectively eschew the tendency to create a dominant narrative with its immutable “key elements,” masterpieces, and great innovators? Rather than center and margin, perhaps hip-hop as a field could choose flow as a model—an early example of which might be the foundational and help- fully plural text, The Hip-Hop Studies Reader (Forman and Neal 2012).
[Show full text]
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
[Show full text]
Let Me Ride Sample
Let Me Ride Sample Foliose and ahorse Monte outtalks her maggots points precociously or enflame untidily, is Jermaine tatty? Dappled Domenico usually unhoused some involucels or intermeddling hospitably. Metaphysically mired, Quincy disorganises toughness and interviews xenoliths. P Funk Mothership Konnection Let that Ride YouTube. Song Details Dr Dre Let him Ride Artist Details Multimedia Embed Edit Shoutbox Page functions Page navigation. Other services terms then i had shrugged, lets get notified when he was just really make in. More ride samples of riding on the horse there. Let the Ride Contains samples from Mothership Connection Star Child. Funk remix of hope and go find people can add music library on thursday after the passage related genres such as withers retired just really want. Van winkle was sampled dr dre had no original and i realized who stood up? Sample rider prices are estimates only and do we reflect variations due to discounts. So let me! Your ride me in sampling and los angeles, lets be reckoned with no. Many ways you can ride me cum on its contract was. And then you let park ride alone Dandy nodded but but was unimpressed We had both those on front around horses since authorities were weaned And industry had no words. Rebellion and john mayer on the houston and the text that crossed over and more than a real dr. To test how proud these cleaning products are they had samples of various. Bha for me ride purportedly lasted four seats for any song. Sample this song pause by Artist 000 of 000 1 Let this Ride Clean 421 250.
[Show full text]
Songs by Artist
Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.
[Show full text]
3. SMACK THAT – EMINEM (Feat. Eminem) [Akon:] Shady Convict
3. SMACK THAT – EMINEM thing on Get a little drink on (feat. Eminem) They gonna flip for this Akon shit You can bank on it! [Akon:] Pedicure, manicure kitty-cat claws Shady The way she climbs up and down them poles Convict Looking like one of them putty-cat dolls Upfront Trying to hold my woodie back through my Akon draws Slim Shady Steps upstage didn't think I saw Creeps up behind me and she's like "You're!" I see the one, because she be that lady! Hey! I'm like ya I know lets cut to the chase I feel you creeping, I can see it from my No time to waste back to my place shadow Plus from the club to the crib it's like a mile Why don't you pop in my Lamborghini away Gallardo Or more like a palace, shall I say Maybe go to my place and just kick it like Plus I got pal if your gal is game TaeBo In fact he's the one singing the song that's And possibly bend you over look back and playing watch me "Akon!" [Chorus (2X):] [Akon:] Smack that all on the floor I feel you creeping, I can see it from my Smack that give me some more shadow Smack that 'till you get sore Why don't you pop in my Lamborghini Smack that oh-oh! Gallardo Maybe go to my place and just kick it like Upfront style ready to attack now TaeBo Pull in the parking lot slow with the lac down And possibly bend you over look back and Convicts got the whole thing packed now watch me Step in the club now and wardrobe intact now! I feel it down and cracked now (ooh) [Chorus] I see it dull and backed now I'm gonna call her, than I pull the mack down Eminem is rollin', d and em rollin' bo Money
[Show full text]
Death Row Records, El Diablo!, Publica En El Estado Español El Grueso De Su Catá- Clogo, Con Referencias Históricas Del Género Y Nuevos Hitos Posibles
Informe DEADEATHTH ROWROW RECORDSRECORDS NegroNegro porpor fuera,fuera, lujolujo porpor dentrodentro uando se cumplen 10 años de la existencia del prestigioso sello de Hip-HHop, Death Row Records, El Diablo!, publica en el estado español el grueso de su catá- Clogo, con referencias históricas del género y nuevos hitos posibles. Ante ustedes el West Coast Gangsta Rap. EL NACIMIENTO DE UN IMPERIO palabra). Eso es lo que vamos a analizar un Con este trabajo, obtuvo dos merecidos Corría 1992 cuando dos nombres bási- poco por encima en este artículo. Grammy y tuvo su continuación en el 96 cos en toda esta historia, decidieron crear DIAMANTES EN BRUTO con "Dr. Dre Presents The Aftermath" y en el 99 con el irregular "2001". un sello discográfico, donde dar rienda DR. DRE: "EL ARTISTA":Ya hemos dicho suelta a su manera de entender el hip-hop que Andre Young no salía de la nada. Venía También en Death Row, tenemos "THE y (por qué no) a su manera de entender los de una banda como N.W.A., donde junto a CHRONICLE - THE BEST OF" (2.001), un negocios. personajes como Ice Cube, había creado recopilatorio que como su nombre indica, Andre "DR. DRE" Young venía del grupo discos y temas de gran peso en toda esta se centra básicamente en su aún insupera- N.W.A. (Niggers With Attitude), probable- historia. do, "The Chronic". En él todos sus aventaja- dos pupilos le rinden pleitesía, devoción y mente lo más grande que ha dado este Evidentemente también, si te tienes que admiración. Interesante en todo caso.
[Show full text]
DPGC the Remix LP Mp3, Flac, Wma
DPGC The Remix LP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The Remix LP Country: US Released: 2002 Style: Gangsta MP3 version RAR size: 1666 mb FLAC version RAR size: 1961 mb WMA version RAR size: 1465 mb Rating: 4.1 Votes: 553 Other Formats: AUD AAC AU TTA AC3 DXD WAV Tracklist Hide Credits 1 – Intro –Dr. Dre, Snoop Doggy Dogg* & Dat Nigga 2 Let Me Ride (Extended Funk Remix) Daz 3 –Snoop Doggy Dogg* Gin N Juice (Laid Back Remix) 4 –Warren G What's Love Got To Do With It (Warren G Remix) 5 –Warren G & Nate Dogg Regulate (G-Funk Remix) 6 –Sam Sneed & Dr. Dre U Better Recognize (Dr. Dre G-Funk Remix) 7 –Warren G So Many Ways (Bad Boys Remix) 8 –Warren G This DJ (Warren G Remix) 9 –Warren G Do You See (G-Funk Remix) –Snoop Doggy Dogg*, Dat Nigga Daz & Kurupt 10 Doggy Dogg World (Perfecto Remix) Tha Kingpin* 11 –Snoop Dogg & Dr. Dre Just Dippin' (Battlecat G Mix) It Might Sound Crazy (Daz Dillinger Remix) 12 –Daz Dillinger Featuring – Too Short –Danny Boy, Dat Nigga Daz & Kurupt Tha 13 Slip N Slide (Tha Dogg Pound Remix) Kingpin* Snoop's Upside Ya Head (Soopafly Remix) 14 –Snoop Doggy Dogg* & Nate Dogg Remix – Priest "Soopafly" Brooks 15 –LBC Crew My Crew (DJ Pooh Remix) I Don't Hang (G Mix) 16 –Soopafly* Remix – Priest "Soopafly" Brooks 17 –Warren G & Nate Dogg Regulate (Jammin' Mix) Who Ride Wit Us (Ride The Remix) 18 –Daz Dillinger, Kurupt Young Gotti* & Roscoe Featuring – Jayo Felony Notes Producers not credited Other versions Title Category Artist Label Category Country Year (Format) DPGC: The Tha Dogg Remix LP CCTHcd1-374360-11117742 Dogg Pound CCTHcd1-374360-11117742 US 2002 (CD, Comp, Pound Records P/Unofficial) The Remix DPG 0111774 DPGC* LP (CD, 0111774 Europe 2002 Recordz Comp) Related Music albums to The Remix LP by DPGC Snoop Doggy Dogg And Kurupt - Ride On (Caught Up) Snoop Dogg - Snoop Dogg In: Snoop Doggy Dogg & Friends, Volume 3 Snoop Doggy Dogg Featuring Charlie Wilson - Snoop's Upside Ya Head Snoop Dogg - Sweat (Snoop Dogg Vs.
[Show full text]
Clinton Objections
Before the COPYRIGHT ROYALTY BOARD Washington, D.C. ) In the Matter of ) ) Distribution of DART Sound Recordings Fund ) Docket No. 14-CRB-0006 DART SR (2013) Featured Recording Artists and Copyright ) Owners Subfund Royalties for 2013 ) ) COMMENTS OF GEORGE CLINTON By notice posted in the Federal Register dated September 30, 2014, the Copyright Royalty Board (“CRB”) solicited comment on the August 19, 2014 notice of settlement and request for partial distribution of royalties in the 2013 DART Sound Recordings Fund Featured Recording Artists and Copyright Owners Subfunds filed by the Alliance of Artists and Recording Companies (“AARC”). 79 Fed. Reg. 60185. George Clinton (“Clinton”) submitted informal objections on August 25, 2014, id. at 60186, and hereby submits through his undersigned counsel his formal comments objecting to the proposed settlement and distribution. INTRODUCTION George Clinton is the Godfather of Funk and a national treasure. A recording artist since 1959, Clinton is one of the most important musicians of the twentieth and twenty-first centuries. In Parliament and Funkadelic, musical groups he formed and led, he scored more than forty hit singles in the 1970s, including four R&B number ones: Parliament’s “Flash Light” and “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop),” and Funkadelic’s million-selling “One Nation Under A Groove” and “(Not Just) Knee Deep.” Clinton, along with fifteen other members of Parliament and Funkadelic, was inducted into the Rock and Roll Hall of Fame in 1997. In 2011, the Smithsonian Institution acquired the Mothership, the flying saucer from which Clinton’s groups once embarked to begin concert performances, to anchor the National Museum of African American History’s inaugural exhibition.1 In 2012, Berklee College of Music awarded Clinton an honorary doctorate.
[Show full text]
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992
Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music. My central argument is that this music, because of the social, political, and economic circumstances from which it emerged, became a vehicle for underclass empowerment during the Reagan Era.
[Show full text]
We Gon' Be Alright?
We Gon’ Be Alright? The Ambiguities of Kendrick Lamar’s Protest Anthem * Noriko Manabe NOTE: The examples for the (text-only) PDF version of this item are available online at: hp://www.mtosmt.org/issues/mto.19.25.1/mto.19.25.1.manabe.php KEYWORDS: Rap music, hip hop, flow, meter, intonation, vocal pitch, protest music, protest chants, African American English ABSTRACT: The best-known track on Kendrick Lamar’s To Pimp a Buerfly, “Alright” has come to be regarded as a protest anthem, fueled by Lamar’s charged performances of the song at the BET Awards and the Grammys, and by accolades from the press that cite its political importance. This article argues that the actual musical track is ambiguous and open to several interpretations. To support this idea, I first explore the process through which the track came into being and how this process may have contributed to the song’s ambiguity. I then examine the message of “Alright,” contextualizing its place in the concept album and in the music video. I closely examine the musical track, analyzing its accent paerns using the metrical preference rules of Lerdahl and Jackendoff (1983) and David Temperley (2001). This analysis of the track implies a 3+5 or 3+2+3 beat reading of 4 the meter in addition to a straight 4. Using the linguistic tool Praat, I analyze the ways in which rappers Fabolous (who originally recorded on the track) and Lamar respond to this meter in their stresses, rhythms, and rhymes. I examine the well-known hook, which Pharrell Williams raps with a striking rise in pitch.
[Show full text]
Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Welcome To Jermaine Local 1 Atlanta (Clean 5:03 Instructions 2 2001 Rap 128 Dupri Disk Remix) Nas & Ill Will Oochie Wally Local 2 QB's Finest 3:58 Records Presents 4 2000 Rap 128 (Clean) Disk Queensbr Local 3 Jay Z La-La-La (Clean) 4:40 Bad Boys II 3 2003 Rap 1 171 Disk Destiny's Local 4 Cater 2 U 4:09 Destiny Fulfilled 3 2004 Pop 5 128 Child Disk Local 5 Ja Rule Wonderful 4:26 R.U.L.E. 3 2004 Rap 128 Disk Local 6 Bob Acri Sleep Away 3:20 Bob Acri 3 2004 Jazz 3 128 Disk We Takin' Over Local 7 DJ Khaled 4:28 We The Best 13 2007 Rap 128 (Remix) Disk Light Poles and Pine Local 8 Field Mob So What (Clean) 3:36 3 2006 Rap 128 Trees Disk Always On Time Local 9 Ja Rule 4:06 Pain Is Love 2001 Rap 3 128 (Clean) Disk Welcome To Tha Local 10 Snoop Dogg Fly (Clean) 4:08 19 2005 Rap 2 200 Chuuch, Vol.3 Disk Feelin' On Yo Local 11 R Kelly 4:05 TP-2.com 18 2000 RnB 128 Booty Disk Local 12 YG Rack On Racks 4:45 We In School 2002 Rap 128 Disk Brian For The Rest Of Local 13 3:34 U Turn 9 2003 RnB 128 Mcknight My Life Disk Donnie Donnie McClurkin... Local 14 I'm Walking 5:19 8 2003 Gospel 128 Mcclurkin Again Disk Local 15 Baby Bash What Is It (Clean) 3:20 Cyclone 5 2007 Rap 128 Disk From Tha Paid tha Cost to Be Local 16 Snoop Dogg Chuuuch Ta Da 4:40 4 2002 Rap 128 da Bo$$ Disk Palace Jermaine Dupri Jermaine Gotta Get'cha Presents...Young Fly Local 17 2:49 2 2005 Rap 128 Dupri (Clean) and Flashy, Vol.
[Show full text]
Groove Theory: a Vamp on the Epistemology of Funk
Groove Theory 9 Groove Theory: A Vamp on the Epistemology of Funk Tony Bolden When asked to define funk, George Clinton once said, “If it makes you shake your rump, it’s the funk.”1 At the most basic level, the term “funk” signifies honesty and beauty of expression at the depths of human emotion. As such, funk comprises the secular counterpart of “the spirit”—what Albert Murray calls “paroxysms of ecstasy”—in black church worship. Writing about James Brown, the musicologist Teresa L. Reed makes an observation that is applicable to funk music generally. She states that the music “captures the soulful spontaneity of the Sanctified church and the animated exhortation of the Sanctified preacher. [The music] also emulates and incites an emotional intensity parallel to the Holy Spirit possession that is a trademark of the Sanctified worship service.”2 Teddy Pendergrass makes a similar point in his memoir Truly Blessed. Recall- ing his childhood experiences in what he described as a “rock-‘em, sock-‘em, sanctified, feel-the-Spirit church,” Pendergrass said, “We talk today about the innovations in rhythm made by great jazz musicians and pioneers like James Brown, but the truth is, they had nothing on a congregation going full force in praise of the Lord.”3 The musicologist Guthrie P. Ramsey, Jr. echoes Pendergrass’s statement in his recollection of his experiences as a member of the Sanctified Band in Chicago. According to Ramsey, “Funky was the watchword . God liked funky. Funky ministered to the people.”4 Of course, black churches have always functioned as training repositories for black musicians, but the frenzy and kinetic expression associated with holiness churches played a disproportionate 0026-3079/2013/5204-009$2.50/0 American Studies, 52:4 (2013): 9-34 9 10 Tony Bolden role in funk music.
[Show full text]