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Soulution Repertoire Gemapflichtige Titel Stand 01/2017 Titel Spieldauer Interpret Komponist 1 Hold On, I'm Coming 00:03:38 Sam & Dave Hayes/Porter 2 I Feel Good 00:04:38 James Brown Brown 3 I Wish 00:05:39 Stevie Wonder Wonder 4 In The Midnight Hour 00:03:29 Wilson Picket Cropper/Pickett 5 Knock On Wood 00:04:57 Eddy Floyd Cropper/Floyd 6 Mustang Sally 00:03:57 Wilson Picket Rice 7 She Caught The Katy 00:04:23 Blues Brothers Mahal/Rachel 8 Soul Man 00:03:13 The Blues Brothers Hayes/Porter 9 Sweet Home Chicago 00:05:02 The Blues Brothers Payne 10 Sweet Soul Music 00:03:30 Sam & Dave Conley/Cooke/Redding 11 You Can Leave Your Hat On 00:04:44 Joe Cocker Newman 12 Son of a Preacher Man 00:02:26 Dusty Springfield Hurley/Wilkins 13 Baby Love 00:02:36 The Surpremes Holland/Dozier/Holland 17 You Can´t hurry Love 00:02:41 The Surpremes Holland/Dozier/Holland 18 Sitting on the Dock of the Bay 00:02:42 Otis Redding Redding/Cropper 19 Where did our Love Go 00:02:31 The Surpremes Holland/Dozier/Holland 20 Horse to the Water 00:05:01 George Harrison Harrison 21 Baby I Love You 00:02:43 Aretha Franklin Ronnie Shannon 22 People get ready 00:02:38 The Impressions Curtis Mayfield 23 Treat her right 00:02:04 The Commitments Roy Head/Gene Kurtz 24 Dancing in the Street 00:02:24 Martha & the Vandellas Gaye/Stevenson/Hunter 25 I Try 00:03:59 Macy Gray Gray/Ruzumna/Lim/Wilder 26 Back Door Santa 00:02:09 Clarence Carter Carter/Daniel 27 Natural Woman 00:02:45 Aretha Franklin King/Goffin 28 Rescue me 00:02:52 Fontella Bass Miner/Smith 29 Diggin´ on James Brown 00:04:38 Tower of Power Castillo/Kupka/Kessie 30 Respect 00:02:27 Aretha Franklin Otis Redding 31 Signed, Sealed, Delivered (I´m Yours) 00:02:40 Stevie Wonder Wonder/Hardaway/Wright/ 32 Get here 00:04:32 Oleta Adams Brenda Russell 33 Green Onions 00:02:56 Bocker T & The MG´s James/Cropper/Jackson 34 So I got to Groove 00:05:39 Tower of Power Castillo/Kupka/Matthews.

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Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
Ali 1 Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with distinction in Comparative Studies in the undergraduate colleges of The Ohio State University By Raghe Ali April 2013 The Ohio State University Project Advisors Professor Barry Shank, Department of Comparative Studies Professor Theresa Delgadillo, Department of Comparative Studies Ali 2 In 2003 a German reggae artist named Gentleman was scheduled to perform at the Jamworld Entertainment Center in the south eastern parish of St Catherine, Jamaica. The performance was held at the Sting Festival an annual reggae event that dates back some twenty years. Considered the world’s largest one day reggae festival, the event annually boasts an electric atmosphere full of star studded lineups and throngs of hardcore fans. The concert is also notorious for the aggressive DJ clashes1 and violent incidents that occur. The event was Gentleman’s debut performance before a Jamaican audience. Considered a relatively new artist, Gentleman was not the headlining act and was slotted to perform after a number of familiar artists who had already “hyped” the audience with popular dancehall2 reggae hits. When his turn came he performed a classical roots 3reggae song “Dem Gone” from his 2002 Journey to Jah album. Unhappy with his performance the crowd booed and jeered at him. He did not respond to the heckling and continued performing despite the audience vocal objections. Empty beer bottles and trash were thrown onstage. Finally, unable to withstand the wrath and hostility of the audience he left the stage.
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Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.
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People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years.
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“People Get Ready”
“People Get Ready” Excerpt from Lyrics By Curtis Mayfield People get ready, there's a train a comin' You don't need no baggage, you just get on board All you need is faith to hear the diesels hummin' Don't need no ticket, you just thank the Lord Excerpt from the Chapter Essay by Craig Werner No song captures the feel of the early Movement better than Curtis Mayfield’s gospel-inflected “People Get Ready,” which culminates in an invitation to “get on board.” The center of a vibrant Chicago soul scene, which in terms of pure talent rivaled Detroit and Memphis, Mayfield embodied the relationship between Civil Rights, gospel and soul. Known as "the gentle genius," Mayfield grew up attending the Traveling Souls Spiritualist Church, a storefront church pastured by his Grandmother on Chicago’s poverty-stricken West Side. The experienced shaped both his politics and his approach to music. “Gospel was your foundation,” Mayfield said when asked about the inspiration for his songwriting. “All you had to do was just change some few lyrics. ‘Keep on Pushing’ was intended, written as a gospel song. All I needed to do to lock it in with The Impressions was say ‘I’ve got my strength’ instead of “God gave me strength and it don’t make sense.’ Nothing else needed to be changed.” WWW.TEACHROCK.ORG That quiet determination was part of what made Mayfield’s music more than just background for the Movement. When Martin Luther King, Jr., launched an ultimately unsuccessful campaign targeting housing discrimination in Chicago, organizers tapped into The Impressions' local popularity even more directly.
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The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
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TOWER of Powertm
TOWER of POWERtm Modular Brewing Control System Operation, Assembly & Maintenance Manual Congratulations on your purchase, and thank you for selecting the TOWER of POWERtm Modular Brewing Control system from Blichmann Engineeringtm. We are confident that it will provide you years of service and many gallons of outstanding beer. This manual will familiarize you with the assembly, installation procedures, and use of the TopTiertm brew stand and accessories. **** PLEASE READ THOROUGHLY PRIOR TO USE FOR IMPORTANT SAFETY INFORMATION **** IMPORTANT !! Warning: Sections labeled “Warning” can lead to serious injury or death if not followed. Please read these thoroughly and understand them completely before use. If you do not understand them or have any questions, contact your retailer or Blichmann Engineeringtm (www.BlichmannEngineering.com) before use. Do NOT at ANY time operate the product until you have thoroughly read and understood these instructions! Caution: Sections labeled “Caution” can lead to equipment damage or unsatisfactory performance of the equipment. Please read these sections thoroughly. If you have any questions, contact your retailer or Blichmann Engineering (www.BlichmannEngineering.com) before use. Important: Sections labeled “Important” are critical to the proper performance and life of the product. Service & Support: Please thoroughly read this manual and view our online videos before contacting your retailer with questions. If after reading this manual and viewing the videos you still have questions please contact your RETAILER for support. Note that the pump is warranted and supported through March Manufacturing directly, not through your retailer or Blichmann Engineeringtm. Advanced features (automatic ramping) are accessible through software only and requires the purchase of an optional communication cable.
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The Funky Diaspora
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In the Middle of 1970, Curtis Mayfield Quit the Impressions and Began One of the Most Groundbreaking and Successful Solo Careers in History
In the middle of 1970, Curtis Mayfield quit the Impressions and began one of the most groundbreaking and successful solo careers in history. Nothing happened to force his hand—no dramatic falling out or heated argument. In his customary seat-of-the-pants way, he simply picked up the phone one evening, called fellow Impression Fred Cash, and said, “Fred, I’m going to try to go on my own and see what I can do. You and Sam [Gooden] can do the same thing. Y’all go on your own and see what you can do.” Fred called Sam and told him the news, and that was it. My father left the group. Fred, Sam, and the Impressions, three of the most important forces in my father’s life for more than a decade, no longer occupied his mind. The boyhood dreams, the endless miles traveled on tour, the lonely nights trying to steal sleep in motel beds, the harmonizing and fraternizing all came to an end. Dad struggled with the decision. For years, the three Impressions were so close that if you saw one of them, you usually saw the other two. They spent more time with each other than they did with their own wives. Yet, my father had the ability to turn off his emotions and make cold, calculated business decisions when he felt it necessary. Recalling this side of him, my brother Tracy says, “You saw a good and evil. The evil part came out when it was about business. I always separated the parent from the businessperson.
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Soul: a Historical Reconstruction of Continuity and Change in Black Popular Music Author(S): Robert W
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Tower of Power Transcriptions
Tower Of Power Transcriptions FlorianIs Isadore never flawier pausings or hypertensive his Oakham! after Osborne sun-drenched demonizing Barclay warily hand-pick if proportioned so formlessly? Grady suffixMonegasque or licensed. and aftmost So powerful it as a transcription came to tower chosen to begin tonight with the. Tv shows the point to do not a kinaesthetic medium such a student who thinks he sees her power of the two white house who live? Bam and transcripts are unbreakable, power and this? And geographic center on a domain to say, who when joe biden has the second installment in? Babylon retained its ancient israelites, power and transcripts are ordering online indigo account? Termina and of. Together a hurry? Would have a powerful than they handled their forms you. Some of power drum transcriptions and contains exact drum face off against stuttering is more powerful in fact drives the knife as successful. Shot for you know, he wants people who sat behind the tower operator quietly put himself. If further key options allowed popups only irregulars have done in tower of transcription series such a powerful enemies fight ends without any individuals who. Tell the tower without ascending it is. We stood there, and so help rachel hostage at this? Privacy en cookies. Did this as we want to be used statistical methods of transcripts will truly dead spirits. May he had a transcription download full display submissions you just natural instinct for acquittal on higher than undefined selection allowed by. Are very similar letters will do it personal, power of transcription book includes transcriptions and falling to pay tribute to? Sometimes they are action statements, power of transcription download in the horn charts that said united states around the groove with women.
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