Ahmad Miller Say Ah! Mp3, Flac, Wma

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Ahmad Miller Say Ah! mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Say Ah! Country: US Released: 2003 Style: Soul-Jazz, Breaks, Acid Jazz MP3 version RAR size: 1574 mb FLAC version RAR size: 1411 mb WMA version RAR size: 1460 mb Rating: 4.5 Votes: 454 Other Formats: XM MOD APE RA AIFF AAC DXD Tracklist A1 Arroyo A2 Little Angel A3 Traffic Zone B1 Tradewindz B2 Windy C B3 Now Or Later Companies, etc. Copyright (c) – Stones Throw Records Manufactured By – Fat Beats Distribution Distributed By – Fat Beats Distribution Recorded At – The Bomb Shelter Mastered At – Bionic Produced For – Madlib Invazion Produced For – Jazz Cats Lifestyle Credits Arranged By – Joe McDuphrey Bass – Monk Hughes Cover – Jeff Jank Drums, Synthesizer [Moog] – Otis Jackson Jr. Electric Piano [Rhodes], Synthesizer [Arp], Clavinet – Joe McDuphrey Executive-Producer – Peanut Butter Wolf Mastered By – Dave Cooley Mastered By [Cut] – Duncan Stanbury Producer – Madlib Vibraphone [Vibes], Flute, Synthesizer – Ahmad Miller Notes The front cover states "Say Ah!" but the spine, back and label imply that "Ahmad's First" is the title of this EP. Produced [...] for Madlib Invazion & Jazz Cats Lifestyle Arranged [...] for Yesterdays Universe Recorded at The Bomb Shelter, Los Angeles, 2002. Mastered [...] at Bionic © 2003 Stones Throw Records Manufactured & Distributed by Fat Beats Distribution Barcode and Other Identifiers Barcode: 6 59457 20501 0 Matrix / Runout (Runout side A): STH-2050 A [Duncan Stanbury's signature] Matrix / Runout (Runout side B): STH-2050 B [Duncan Stanbury's signature] Related Music albums to Say Ah! by Ahmad Miller Cut Chemist / Madlib - Bunky's Pick / 6 Variations Of In The Rain Madvillain - Madvillainy "2" Aka The Madlib Remix Madlib - 420 Chalice All-Stars Abby Ahmad - The Rearview DJ Rels - Theme For A Broken Soul Schneider / Kacerik, Shoeb Ahmad - Split 12" Quasimoto - The Unseen Ahmad Jamal - À L'Olympia Sound Directions - The Funky Side Of Life J.Rocc - Play This (One) Ahmad Jamal - Recorded Live At "Oil Can Harry's" Ahmad Jamal, Teddy Wilson - Masters Of Piano.

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046-49 Stonesthrow.Qxd
046 49 StonesThrow.qxd 10/30/06 7:00 AM Page 64 STONES THROW TURNS 10 BY CHRIS MARTINS — PHOTOS BY B+ “I’VE GOT A WHOLE FRIDGE FULL OF WINE,” better known as Egon: general manager, vintage director Jeff Jank, an erstwhile graffiti artist and illus- says Eothen Alapatt with the air of a veteran busi- regional funk archivist, DJ and all-around hustler trator from Oakland who made the move south with nessman. “Going up to places like Lompoc and (though it must be mentioned that he’s much more Wolf. Photographer B+, an Irish transplant whose Buellton right outside Santa Barbara, to these wineries endearing than he is business) for Stones Throw credits include album covers for N.W.A., the Watts that are site specific…it’s just like the music I like.” Records. Of course, this isn’t to say that the label’s Prophets, DJ Shadow, and the majority of the Stones He is, after all, an accomplished record label manager. basic function isn’t happening (that previously men- Throw catalog. Rapper Medaphoar, who grew up with “I feel the same way traveling to Omaha to track a funk tioned “supposed to” about reinventing hip-hop), the label’s flagship artist Madlib in Oxnard, California, band as when I’m going to a winery seeing where they because it most certainly is. But times have changed. 60 miles northwest of L.A. Producer J-Rocc, founding grow the grapes, tasting the wine and meeting the Ten years is a lot of time for an independent hip-hop member of the seminal West Coast turntablist crew people that do it.” But Eothen isn’t an industry old- (etc.) imprint that never had dreams of pressing its the World Famous Beat Junkies (who’ve worked with, timer.
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Hip Hop As English Curriculum A
BETWEEN THE LINES: HIP HOP AS ENGLISH CURRICULUM A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment Of the Requirements for the University Honors Program Certificate William Godbey Spring 2018 1 2 Acknowledgements This thesis would not have been possible without the help and guidance of my advisor, Professor David Hernandez. This was a somewhat unorthodox topic, yet he not only took it in stride, he believed in my ability to continue the conversation on this topic in a new and insightful way. I owe him great thanks for this. I would also like to thank my family for their never-ending support and love not only through this process, but through the entirety of my college experience. Especially to my mother, who was always a phone call away if I ever needed assistance or to touch base back home. I owe you all so much for your encouragement and belief in me. and to Breanika Schwenkler, for always having my back. 3 ABSTRACT Between the Lines: Hip Hop as English Curriculum By William Godbey Spring 2018 This thesis examines the effectiveness of introducing hip hop into English curriculum at a high school level. To showcase this, this thesis presents a framework, broken up into three sections, that highlight the ways hip hop lyrics can be used to teach a variety of different literary devices, historical contexts, and how to analyze a text beyond its surface value. The three sections include Simple Literary Devices, Complex Literary Devices, and Contexts. Each section is demonstrated with a unique song and artists, to show how this framework could function as well as the versatility of talent in hip hop.
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MMS 001 MADLIB MEDICINE SHOW 1 Before the Verdict CD
MADLIB LAUNCHES HIS ONCE-A-MONTH ALBUM SERIES Madlib launches the Madlib Medicine MP3 leak “The Paper” downloaded Show, a once-a-month, twelve-CD, 43,000 times on stonesthrow.com six-LP series with Before The Verdict. The as of 12/10… and counting Madlib Medicine Show will be a Marketed and promoted by combination of Madlib's new Hip Hop Stones Throw Records productions, remixes, beat tapes, and Publicity by Score Press Jazz, as well as mixtapes of Funk, Soul, Brazilian, Psych and other undefined Limited edition forms of music from the Beat Konducta's 4-ton* stack of vinyl. Format: CD Cat. No: MMS 001 Madlib Medicine Show No. 1 is Before Label: Madlib Medicine Show The Verdict featuring Guilty Simpson, a Available: February 2nd, 2010 seventeen track reimagination of rapper Guilty Simpson’s Ode To The Ghetto (augmented, of course, with unreleased songs, other remixes and tons o’ beats). You can think of this as somewhat of a prelude to Madlib & Guilty Simpson's forthcoming OJ Simpson album. Volume 1 is a limited pressing of CDs. Next up: Flight to Brazil, is a mixtape of Brazilian jazz, funk, prog-rock, folk and psychedelia coming in late February. Later releases will include Beat Konducta in Africa. *4-tons of vinyl, this is true. It’s all in his studio. The World-Psych Masterpiece from The Whitefield Brothers 1. Joyful Exaltation feat. Bajka 2. Safari Strut 3. Reverse feat. Percee P and MED 4. Taisho 5. Sad Nile 6. The Gift feat. Edan and Mr. Lif 7. Ntu 8.
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Marketed and Promoted by Stones Throw Records Publicity by Score
THIRD RELEASE FROM MADLIB’S ONCE-A-MONTH SERIES Madlib follows Flight To Brazil, with the Marketed and third installment of the Medicine Show series and the fourth installment in his promoted by Beat Konducta Series: Beat Konducta in Stones Throw Records Africa. Previous entries include: Beat Konducta: Movie Scenes, Beat Konducta: in Publicity by Score Press India and Beat Konducta: Dil Cosby and Dil Withers Suites. Limited edition Beat Konducta In Africa contains over Format: CD forty instrumental hip hop tracks produced and mixed by Madlib. This Cat. No: MMS 003 epic “beat tape” springs from obscure Label: Madlib Medicine Show vinyl gems culled from the afro-beat, Available: March 23rd, 2010 funk, psych, garage-rock, prog-rock and soul movements of countries as diverse as Zambia, Nigeria, Ethiopia, Ghana, Botswana and the Ivory Coast. The Madlib Medicine Show series is a combination of Madlib's new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta's 4-ton* stack of vinyl. Next up: 420 Chalice All Stars (All Jamaican Sounds) *4-tons of vinyl, this is true. It’s all in his studio. DISC ONE: Jawbones 1. Free 2. Ihadmyheadoverthechickensouppot 3. Mary 4. Don’t Judge Your Brother 5. Cat House Blues 6. The Ones Left Behind 7. Betrayed 8. Bullheads In My Shoes Blues 9. Karen DISC TWO: Since Washington 10. Alone And Watching 11. Sad Sunday 12. Now Is Here 13. Donna 14. 3 AM 15. It Doesn’t Matter … Yes It Does … But I Can’t Stop 16.
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FDW 701 & 702 MR CHOP Troy & Straighten It up 7
RECORD 1 of 2 (FDW 701) SIDE A T.R.O.Y. The Resurrection SIDE B T.R.O.Y. The Resurrection (Inst.) MR. CHOP After the success of Mr. Chop’s all-instrumental version of Pete Rock inspired songs For Pete’s Sake (FDW 7704 -- available on both CD and LP), the good folks at Five Day Weekend approached CL Smooth about the possibility of re-recording his vocals for Mr. Chop’s version of two Pete Rock & CL Smooth classics: “T.R.O.Y” and “Straighten It Out”. 20 years after the original release of both tracks on the Mecca and the Soul Brother LP, CL sounds as fresh as ever, performing with the smooth, natural ease he’s known for. Both singles feature instrumental versions on the B-side. RECORD 2 of 2 (FDW 702) SIDE A Straighten It Out SIDE B Straighten It Out (Inst.) ORDER CUT OFF DATE FOR THIS ITEM: APR 27th Format: 2 different 7” singles Cat. No: FDW 701 and FDW 702 Label: Five Day Weekend Available: MAY 18th 01. Heroic Future 02. Dactyl Rap 1138 03. Black Manta 04. Worst Things First (Alt Seq with East Coast Avengers) 05. 1989 (Rap Version) 06. Dustman (with Random aka Mega Ran) 07. Zod (70’s Cartoon Edit & Remix) 08. Vinyl’s Dead 09. Popcorn In Revere 10. Looks Like Reign 11. My Swordz (with Planetary) 12. Pterodactyl Sax 13. Blew My Mind In 2 Parts 14. Knifegirl (Eso’s Uber-dramatic Remix) 15. Hold On (OG Version) 16. Real American Heroes Demoralized (with King Magnetic) 17.
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Slime Soccer Sparks Scandal Among Students by GRANT HAUSKINS and JOE WALSH Staff Writers Gambling by Students Is Tak- Individual Ability
aw rint November 2016 Volume 16, Issue 2 Senior Alexa Moster journeys to center stage By SAMUEL ALGAS Staff Writer You may have seen her ten “Mrs. Johnston introduced me was dropped into a tiny miracle… years ago, performing at street fes- to how the intersection of music Every time I was in that rehears- tivals with her dad. Or as Cinder- and theater could really create al room, or down-state, or with ella in Payton’s “Into the Woods.” friendships as a freshman, because that company in general, I felt so Or maybe at the Illinois all-state that was honestly why I joined in lucky to be in the presence of so performance of “Rent,” as Mimi the first place... I was really un- many people who were more ex- Marquez. Or at that small event comfortable, as most freshmen perienced than I was. I really got known as Chance the Rapper’s were. But Mrs. Johnston, my choir to soak up all of what they were Magnificent Coloring day, singing teacher who I was close with from good at, and try to learn more backup for the up and coming Chi- the beginning, told me I have a about myself as an actor by being cago rapper. Regardless of where great voice and that I should come around people who were so talent- you came across her, you probably audition for Broadway Gems. I fell ed…They really took a chance on already know—Alexa Moster has in love with that community be- me as someone who really hadn’t a big voice.
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Vol. 7 Critical Theory and Social Justice Critical Theory and Social Justice Journal of Undergraduate Research Vol
CTSJ CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE SPRING‘18 VOL. 7 CRITICAL THEORY AND SOCIAL JUSTICE CRITICAL THEORY AND SOCIAL JUSTICE JOURNAL OF UNDERGRADUATE RESEARCH VOL. 7 JOURNAL OF UNDERGRADUATE RESEARCH OCCIDENTAL COLLEGE CTSJ | OCCIDENTAL COLLEGE The Politics of Madvillainy: Queer Interventions in Hip-Hop BENNETT BRAZELTON | Tufts University ABSTRACT: Clay Cane writes of hip-hop in The Advocate, “one cannot forget its homophobia, a contagious infection in an art form that once stood for positivity.” This reactionary sentiment to hip-hop masculinity implies a sort of cognitive dissonance toward its intersection with queer theory. In line with the thinking of Moya Bailey and Mark Anthony Neal, I contend that hip-hop should be viewed––rather than dismissed––in terms of opportunities to disrupt oppressive structures within the genre. Little scholarship has used this framework to address disruptive performances outside of queer bodies. This paper attempts to fill this gap by analyzing the enigmatic, comical, at times oppressive, works of rapper MF DOOM. I specifically analyze DOOM’s creation and embrace of villainous identities, his subversions of capitalist mentalities in music, and his complex, transgressive sexualities, juxtaposed with the violent homophobia found in his later work. Ultimately, the purpose of this essay is to qualify archetypes of queer disruption in hip-hop, using DOOM as a case study of both transgression and oppression. “The Illest Villains” Villains who possess supernatural abilities––villains who were the personification of carnage. Madvillain, more accurately, the dark side of our beings. – an excerpt from the album intro, “Illest Villains” on 2004’s Madvillainy José Esteban Muñoz writes in the opening words of Cruising Utopia, “Queerness is not yet here” but is in fact an imagination of futuristic potentiality.
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That's Hip-Hop To
“That’s Hip-Hop to Me!”: Race, Space, and Temporal Logics of Authenticity in Independent Cultural Production Michael Gibson University of Arizona ABSTRACT In producer-saturated fields such as popular music scenes, claims to and judgments of authenticity are ever salient in contention for limited resources and prestige. By mobilizing meanings attributed to sounds, objects, individuals, and ideas associated with the past, present, or future of a genre, cultural producer groups are distinguished from each other and unified within themselves. Observing the dynamics of these distinctions allows us to ascertain how artistic professionals think of themselves and others, as well as begin to unpack the role that authenticity work may play in the practice and warrants of cultural production. Drawing on fieldwork and interviews from an independent rap scene in the Midwest, I demonstrate how artists draw on collective memory, modern convention, and projected futures to form competing, temporally-rooted logics of authenticity by which to advance their positions. KEYWORDS: Authenticity; Cultural production; Temporality; Hip-Hop “That’s Hip-Hop to Me!”: Race, Space, and Temporal Logics of Authenticity in Independent Cultural Production 1. Introduction In an upper middle class suburb 20 minutes outside of a mid-sized Midwestern city, bass heavy hip-hop instrumentals drown out the sound of Victor’s children playing in his back yard. Posters of 1990s rappers line the walls around him. Like most of his neighbors, Victor is a white, mid-to-late 30s father and husband. Unlike those neighbors, he is a rapper and hip-hop producer with his own record label, Institute Recordings.
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V. 16-08-2012 the LA CARNIVAL A/K/A the Les Smith Soul Band 12": Blind Man: Vocal / Instrumental / Acapella • Cut Chemist Edit / Original Version
v. 16-08-2012 THE L.A. CARNIVAL a/k/a The Les Smith Soul Band 12": Blind man: Vocal / Instrumental / Acapella • Cut Chemist edit / Original version Stones Throw, 2003 2LP: "The L.A. Carnival Would Like To Pose A Question" Now-Again Records, 2003 Flyin' / We need peace and love • Pose a question / 7 steps… / Blind man •• Can you hum a tune? / Color / The Klan • Black man's march / Ron's tune. L.A. DREAM TEAM see: Dream Team L.A. STAR LP: "Poetess" Profile, 1990 Wondrous dream / Fade to black / N.P.T. posse / My tale / Do you still love me • It takes a real woman / Swing to the beat / Once upon a time / It's like that / If you don't wanna party. LA THE DARKMAN 12": Heist of the century [feat. Killa Sin] (clean / street / instr.) • I want it all – unreleased ʻ96 mix (clean / street / instr.) Big Beat/Atlantic, 1998 CD: "Heist Of The Century" Supreme Team Ent't, 1998 Lucci / Shine / City lights / What thugs do [feat. DJ Rogers & Puff] / Heist of the century [feat. Killa Sin] / Fifth disciple / Now Y / Spring water [feat. Raekwon] / 4 souls [feat. Shotti Screwface] / Street life [feat. Tekitha] / Love [feat. Maia Campbell] / Figaro chain [feat. Havoc of Mobb Deep] / Polluted wisdom / Gun rule / Element of surprise [feat. U-God & Masta Killah] / Az the world turnz [feat. Raekwon] / Wu-blood kin [feat. Ghostface Killah & 12 O'clock] / I want it all / Springwater (Absolute Beginner Eißfeldt remix). JOAN LA BARBARA LP: "Tapesongs" Chiaroscuro Records, 1977 Cathing / Solo for voice 45 (from Songbooks) • Thunder.
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Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop Composition
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