DOCSLIB.ORG

Sean Khan – ‘Slow Burner’

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1. Mixed Grill - A Brand New Wayo 2. Kris Okotie - Show Me Your Backside 3. Murphy Williams - Get On Up 4. Joe Moks - Boys and Girls 5. Amas - Slow Down 6. Oby Onyioha - I Want To Feel Your Love 7. Dizzy K. Falola - Excuse Me Baby 8. Chris Mba - Funky Situation 9. Bayo Damazio - Listen to the Music 10. Martha Ulaeto - Music Alone 11. Segun Robert - Big Race 12. Amel Addmore - Jane 13. Honey Machine - Pleasure 14. The Stormmers - Love or Money 15. Emma Baloka - Letís Love Each Other With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria’s Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particu- lar. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-the- floor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as “disco” but has since been recognized as its own unique genre retrospectively dubbed “Nigerian boogie.” A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package, featuring over 60 pages of rigorously researched liner notes and photographs chronicling one of the most progressive and creative eras in the history of Afri- can popular music. AVAILABLE ALSO ON LP! Format: CD Cat. No: CRZR 1001-LP UPC: 1 12437 10011 3 Cat. No: CRZR 1001-CD Label: Comb & Razor Sound Available: MAY 17th CD COMB & RAZOR SOUND www.combandrazorsound.com 1. Do You No Wrong Again — Thra Kha Band 2. Khnyom Jah Karake — Tet Somnang & Meas Samon 3. Pros Chang Reiy — Pan Ron 4. Tonight, Dance — Ros Sereysothea 5. Gon Som Merl Kon Mdong (Please Just One More Movie, Daddy) — Ros Sereysothea & Houy Meas 6. Jet Snaeh Theang Nov — Sinn Sisamouth & Ros Sereysothea 7. Pail Loung Rom (Go to Dance) — Pan Ron 8. Oun Chong Rom Leng Ning Bong (I Wanna Dance with You) — Ros Sereysothea 9. Pralkol Sene Eoui Oun Venh — Houy Meas 10. Srolanh Oun Jea Nich (I Love Mean Girls) — Pan Ron & In Yeng 11. Yuvachon Yuvatey Samai Tmai (New Generation Youth) — Sinn Sisamouth & Ros Sereysothea 12. Tgnai Nih Reabka Khnyom (Today My Friends) — Pan Ron 13. Satt Thee Thuy — Sinn Sisamouth 14. Saravan Jun Penh Boromey — Thra Ka Band featuring Keo Sokha 15. Srau'aem Dong Steung Songkae — Sinn Sisamouth 16. Bong Rau Roub Khnyom — Ros Sereysothea 17. Duang Netra — Sinn Sisamouth 18. Jomreang Oun Chreang — Choun Malai 19. Youm Os Tirk Pnake — Pov Vannary PACKAGED IN A DELUXE CASE BOOK WITH A 36 PAGE BOOKLET FILLED WITH RARE PHOTOS AND INFO ON THE KHMER ROCK MOVEMENT Recorded in raw, bare bones conditions, mostly live and with traditional Cambodian instruments finding their place alongside found keyboards or guitars, the music of the Khmer rock musicians transformed the nightlife of the Cambodian capital, Phnom Penh — and many years later seduced countless listeners around the world with their groovy sound. The rise to power of the anti-Western, fanatical Khmer Rouge in 1975 caused drastic and permanent changes for Cambodia. These years saw social upheaval in the form of massive famines, selective executions and a brutal campaign of genocide responsible for the deaths of an estimated two million Cambodians, many in the notorious “killing fields.” Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth (“the Emperor of Khmer Music”), Ros Sereysothea (“The Golden Voice of the Royal Capital”), and Pan Ron met their deaths at the hands of the Khmer Rouge. The music of these honored musicians and others live on in this exclusive collection, assembled with much love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. The music is wild and anarchic, rhythmic and undulating, sometimes sweet and lyrical, but always moving. Cambodia Rock Spectacular! captures that deep soulfulness ingrained in the best music; and along with its sister album, Cambodia Rock Intensified!, it is perhaps the most definitive collection of classic Cambodian rock music to appear on the scene to date. Available Now on LP: Cat. No: LION 112-LP UPC: 7 785878 31121 6 Format: CD Cat. No: LION 655-CD Label: Lion Productions Available: MAY 17th CD SWEAT BAND Sweat Band 03. Love Munch 01. Hyper Space 06. Body Shop 04. We Do It All Day Long (Reprise) 02. Freak To Freak 07. We Do It All Day Long 05. Jamaica The 1970s saw the rise of Funk as we now know. Nothing fueled the 70s funk revolution quite like George Clinton’s massive musical collective known as Parliament-Funkadelic. One of the main con- tributors to the P-Funk sound was Cincinnati native and former JB’s member Bootsy Collins. Literally, there would be no Mothership without Bootsy, aka Bootzilla, a true monster on the bass. 1980’s “Sweat Band” was originally envisioned to be the 5th release from Bootsy Collin’s funktacular Rubber Band. But somehow Bootsy lost the rights to the Rubber Band name to, of all things, a folk act. But rest assured, though the name may be slightly different, all the funk is intact. For this outing Bootsy’s background with James Brown and as a major contributor to the Parliament Funkadelic family are in full effect. Players on the project include Michael Hampton and Garry Shider on guitar, Bernie Worrell on the keys, as well as a horn line comprising Fred Wesley, Richard Griffith and Maceo Parker. And being that this is a full-fledged P-Funk outing, George Clinton himself is Executive Producer. Anchoring the entire project, the amazing bass work of the one and only Bootsy Collins. FORMAT: CD • CAT NO: GET 51285 • LABEL: Get On Down • STREET DATE: May 17th HUGO MONTENEGRO Moog Power 1. Hair/Aquarius 8. Dizzy 5. More Today Than Yesterday 2. Traces 9. MacArthur Park 6. Don’t Leave Me 3. Touch Me 10. You Showed Me 7. Moog Power 4. The Greatest Love 11. My Way Hugo Montenegro already had a solid and storied career under his belt before his revolutionary 1969 release “Moog Power” was envisioned or the first Moog synthesizer was even built. In the mid-50s he was musical director for the Dragon and Caprice imprints where he worked with Dion. He then moved on to a similar position at the legendary “Hi Fi” imprint Time Records. Relocating to LA in the early 60s lead to a deal with RCA as well as a slew of work for film and TV including scoring two Matt Helm pics and penning the theme music to “I Dream of Jeanie”. By the mid-60s his own work was on the vanguard of Space Age Pop. When the Moog synthesizer was first made available in the late 60s its sound was fresh and very cutting edge. The instrument itself lead to a run of Moog flavored albums that went well into the 70s, Montenegro’s “Moog Power” being one of the first, and best, of the Moog movement. “Moog Power” set the standard, with synth flavored interpretations of current hits like the Doors “Touch Me”, “Aquarius” “Dizzy”, and other hits of the day. In addition to these reinterpretations the Montenegro penned title track “Moog Power” brought the (then) futuristic sound of the synthesizer directly into the homes of millions. Now, lovingly remastered from the original sessions, Get On Down is proud to connect Montenegro’s work with a new generation of fans eager to hear analog synths or those who’d rather just mix up some cocktails and enjoy the power of the granddaddy of Moog records, “Moog Power”. FORMAT: CD • CAT NO: GET 51286 • LABEL: Get On Down • STREET DATE: May 17th BLACK IVORY FEEL IT 1. Will We Ever Come Together 2. Your Eyes Say Goodbye 3. You’re What’s Been Missing In My Life 4. Daily News (Vocal) 5. All In A Day’s Love 6. Feel It 7. Warm Inside 8. Love, Won’t You Stay 9. Daily News (Instrumental) THEIR CLASSIC 1976 BUDDAH ALBUM MAKES ITS CD DEBUT “Leroy Burgess, Stuart Bascombe and Russell Patterson trademark ballads with cuts such as “Your Eyes Say were Black Ivory, an exceptional and occasionally brilliant Goodbye” and “Warm Inside” along with probably one of soul group from Harlem that recorded throughout the ‘70s their best ever songs “Will We Ever Come Together” and returned sporadically during the decades following” -Andy Kellman (All Music Guide) KEY SELLING POINTS: The band first came to prominence in 1972 with their first single “Don’t Turn Around”, released on the indie Today label • Worldwide CD debut and which made #13 on the R&B charts. • Remastered in 24 bit from the After two albums with Today, the band signed to Buddah original analog Buddah masters Records for “Feel It”, an album described by music critic • Specially packaged in old style 5” Andrew Hamilton as “ranking as good or better than the previous two.” “tip on” LP style jacket with inner bag and OBI.
Recommended publications
  • RHYTHM & BLUES...63 Order Terms

    RHYTHM & BLUES...63 Order Terms

    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)

    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)

    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
  • PTSVNWU JS-5 Jam Station Style Listing

    PTSVNWU JS-5 Jam Station Style Listing

    PTSVNWU JS-5 Jam Station Style Listing ROCK 1 POP BLUES JAZZ 01 JS-5HardRock 11 ElectricRock 01 Shuffle 1 01 ChicagoBlues 01 DublTimeFeel 02 BritHardRck1 12 Grunge 02 Shuffle 2 02 OrganBlues 02 Organ Jazz 03 BritHardRck2 13 Speedy Rock 03 Mid Shuffle 03 ShuffleBlues 03 5/4 Jazz 04 80'sHardRock 14 Funk Rock 04 Simple8btPop 04 Boogie 04 Latin Jazz 05 Fast Boogie 15 Glam Rock 05 70's Pop 05 Rockin'Blues 05 Soul Jazz 06 Heavy & Loud 16 Funk Groove 06 Early80'sPop 06 RckBeatBlues 06 Swing Jazz 1 07 Slow Rock 1 17 Spacy Rock 07 Dance Pop 07 Medium Blues 07 Swing Jazz 2 08 Slow Rock 2 18 Progressive 08 Synth Pop 08 Funky Blues 08 Swing 6/8 09 Slow & Heavy 09 Honky Piano 09 Jump Blues 09 BigBandJazz 10 Hyper Metal ROCK 3 10 Slow Pop 10 BluesInMinor 10 Combo Jazz 11 Old HvyMetal 11 Reggae Pop 11 Blues Brass 11 Modern Jazz 12 Speed Metal 01 AcousticRck1 12 Rockabilly 12 AcGtr Boogie 12 Jazz 6/8 13 HvySlowShffl 02 AcousticRck2 13 Surf Rock 13 Gospel Shout 13 Jazz Waltz 14 MidFastHR 1 03 Gtr Arpeggio 14 8thNoteFeel1 14 Jazz Ballad 15 MidFastHR 2 04 CntmpraryRck 15 8thNoteFeel2 R&B 16 80sHeavyMetl 05 8bt Rock 1 16 16thNoteFeel FUSION 17 ShffleHrdRck 06 8bt Rock 2 01 RhythmGtrFnk 18 FastHardRock 07 8bt Rock 3 BALLAD 02 Brass Funk 01 Power Fusion 19 HvyFunkRock 08 16bt Rock 03 Psyche-Funk 02 Smooth Jazz 09 5/4 Rock 01 NewAgeBallad 04 Cajun Funk 03 Wave Shuffle ROCK 2 10 Shuffle Rock 02 PianoBallad1 05 Funky Soul 1 04 Super Funk 11 Fusion Rock 03 PianoBallad2 06 Funky Soul 2 05 Crossover 01 90sGrooveRck 12 Sweet Sound 04 E.PianoBalad 07 60's Soul 06
  • Vindicating Karma: Jazz and the Black Arts Movement

    Vindicating Karma: Jazz and the Black Arts Movement

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
  • Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio

    Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio

    University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history.
  • “Rapper's Delight”

    “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.
  • Biography Mark Ronson Is an Internationally Renowned DJ and Five-Time-Grammy-Award-Winning and Golden Globe-Winning Artist and P

    Biography Mark Ronson Is an Internationally Renowned DJ and Five-Time-Grammy-Award-Winning and Golden Globe-Winning Artist and P

    Biography Mark Ronson is an internationally renowned DJ and five-time-Grammy-Award-winning and Golden Globe-winning artist and producer. Ronson spent the first eight years of his life growing up in London, England. Having played guitar and drums from an early age, it wasn't until moving to New York City following his parents’ divorce, that he discovered DJ culture. At age 16, and already a fan of artists like A Tribe Called Quest, Run DMC and the Beastie Boys, Ronson began listening to mixtapes released by various hip hop DJs. Inspired, Ronson confiscated his step-father's vinyl collection and tried his hand at mixing. It was the first step in a career highlighted by work on a multi Grammy-winning album by Amy Winehouse, as well as his own Grammy-winning, global smash hit with Bruno Mars, "Uptown Funk." In the late 1990s into the early 2000s, the New York club scene was percolating with booming hip-hop and glitzy R&B. Ronson quickly earned himself a reputation through stints on the decks in downtown clubs before becoming the DJ of choice for many noteworthy parties. Hip-hop mogul Sean "P. Diddy" Combs hired Ronson to DJ his fabled 29th birthday bash. These and other high-profile gigs boosted Ronson's profile and connected him with other artists, many of whom were interested in collaborating. His first production gig came from British soul singer Nikka Costa and he found that his experience of working a club crowd informed his production skills. Fusing his eclectic turntable skills with his knowledge of musical instruments and songwriting, Ronson soon embarked on his first solo record.
  • THE PEOPL'e's VOICE a Time to Prepare

    THE PEOPL'e's VOICE a Time to Prepare

    THE PEOPL’E’S VOICE VolumeV Number 2 Universityof California,San Diego March 1982 IIII I I I Budget Cuts put the Squeeze On A Time To Prepare by Robyn Broughton These reports have prompted an are filed and if the necessary the federal government will investigation by the UCSD informationis completed.This garnisheetax returnsto obtain FACT: Studentswho cannotafford RegistrationFee Committeeinto the necessitatesthat we getour financial paymentfor theseloans. We mustbe basicnecessities (i.e., rent, food, management of SFS. This aid information in as soon as carefulin acceptingloans so as to clothing),cannot afford to be possibleto insurereceiving some preventfalling into a spiralof debts students. investigationis presently underway. formof aid.Applicants should have oncewe graduate. FACT:By 1984,students dependent The People’s Voice talked with theirfiles completed no laterthan on governmentmonies alone will not Thomas Rutter, the director of The numberof studentsapplying StudentFinancial Services, to get April I, even though the final be ableto affordbasic necessities. forfinancial aid is increasingalong some clarityon the financialaid deadlineis notuntil July l. withthe highercosts of education. FACT: It is estimatedthat more pictureat UCSD. Thetype of awardsgiven will be of The Reagan Administration, than70% of the Blackstudents here While there are still some a lowerquality but of equalquantity, however,is benton cuttingstudents at UCSD are receivingsome form of unanswered questions over the meaningstudents will probablybe downto size. financialaid moniesto providefor managementof SFS,there are plans offeredmore loans, and there will be theirbasic living expenses. Targetedfor fundingelimination loomingin Congresswhich threaten increasesdistributed among the in Reagans1983 proposal are mostof Tlaedevasting impact of recent to sweepstudents under the budget expected parental and student the forms of financialaid that changesand proposedchanges in cuttingcarpet.
  • Music 3500: American Music This Final Exam Is Comprehensive —It Covers the Entire Course (Monday December Starting at 5PM In

    Music 3500: American Music This Final Exam Is Comprehensive —It Covers the Entire Course (Monday December Starting at 5PM In

    FINAL EXAM STUDY GUIDE Music 3500: American Music This final exam is comprehensive —it covers the entire course (Monday December starting at 5PM in Knauss Hall 2452) Exam Format: 70 questions (each question is worth 4 points), plus a 40-point "fill-in-the-chart" (described below) (these two things total a maximum of 320 possible points toward your final course grade total). The format of the 70-question computer-graded section of the final exam will be: ...Matching ...Multiple Choice ...True/False (from text readings, class lectures, YouTube video links) General study recommendations: - Do the online quiz assignments for Chapters 1-9 (these must be completed by Monday April 24) ---------- For the Computer-Graded part of the final exam: 1. Know the definitions of Important Terms at the ends of Chapters 2-8 - Chapter 1 (textbook, page 5) -- know "popular music," "roots music," "Classical art- music" - Chapter 2 (textbook, page 19) -- know "old-time music," "hot jazz," "race music" - Chapter 3 (textbook, page 31) -- know "bebop," "big-band," "boogie-woogie" - Chapter 4 (textbook, page 42) -- know "backbeat," "chance music," "cool jazz," "multi- serialism," "rhythm & blues," "soul" - Chapter 5 (textbook, page 52) -- know "soundtrack," "free jazz" - Chapter 6 (textbook, pages 58-59) -- know "fusion," minimalism," - Chapter 7 (textbook, pages 69-70) -- know "techno," "smooth jazz," "hip-hop" - Chapter 8 (textbook, page 81) -- know "sound art" 2. Know which decade the following music technologies came from: (Review the chronological order of
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America

    Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America

    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
  • Parliament Gold Mp3, Flac, Wma

    Parliament Gold Mp3, Flac, Wma

    Parliament Gold mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Gold Country: Europe Released: 2005 Style: P.Funk MP3 version RAR size: 1479 mb FLAC version RAR size: 1961 mb WMA version RAR size: 1108 mb Rating: 4.5 Votes: 622 Other Formats: DXD AA VQF ADX MP4 VOC WMA Tracklist 1-1 Up For The Down Stroke 5:08 1-2 Testify 3:54 1-3 All Your Goodies Are Gone 5:04 1-4 Chocolate City 5:37 1-5 Ride On 3:34 1-6 P. Funk (Wants To Get Funked Up) 7:40 1-7 Give Up The Funk (Tear The Roof Off The Sucker) 5:46 1-8 Mothership Connection (Star Child) 6:12 1-9 Handcuffs 4:00 1-10 Do That Stuff 4:48 1-11 Dr. Funkenstein 5:45 1-12 Funkin' For Fun 5:55 Dr. Funkentstein's Supergroovalistic-Prosifunkstication Medley: Let's Take It To The 1-13 5:06 Stage/Take Your Dead Ass Home (Say Som'n Nasty) (Live) 1-14 Fantasy Is Reality 5:55 2-1 Flash Light (12-inch Version) 10:45 2-2 Bop Gun (Endangered Species) 8:30 2-3 Funkentelechy 10:54 2-4 Mr. Wiggles 6:43 2-5 Aqua Boogie (A PsychoAlphaDiscoBetaBioAquaDoLoop) (12" Version) 9:23 2-6 Rumpofsteelskin 5:34 2-7 Party People (Single Edit) 4:46 2-8 Theme From The Black Hole 4:38 2-9 The Big Bang Theory 7:10 2-10 Agony Of DeFeet (Single Edit) 4:25 Companies, etc. Phonographic Copyright (p) – Island Def Jam Music Group Copyright (c) – Island Def Jam Music Group Record Company – UMG Recordings, Inc.
  • The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture

    The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture

    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the United States History Commons Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. 664. https://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr.