DOCSLIB.ORG

World Clique

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
World Clique GOOD BEAT POWER OF LOVE TRY ME ON, I'M VERY YOU SMILE ON you don't have to say no words depending on how you see a thing what's the real question in your mind mind mind * i'm inclined depending on how you see a thing and it comes in every language in the power of love • i believe • i believe in the power of love the ship is free or it is sinking to ask you all the time time time - do unto me as i want to you con see it in every nation depending on how you see it it helps communication the power of love • i believe in the power of love do to you • try me on i'm very you • i can't read your mind • you cage your mind or you free it it's like a shining sun depending on how you see the times so you got to let me know all the time ■ how it feels for it to up high in the sky the world divides or it closely binds fedmSmffi • let the people call me naive • i believe i believe i believe and when you blink your eyes but i just wanna hear a good beat be real * i can't read your mind - so you got to let me know it's like a nice suprize i jus wanna i jus wanna jyee aaaa • what is it that can make a lost soul found? • take your time i just wanna hear a good beat all the time • how it feels for it to be real • ooh you got me as long as you i jus wanna i jus wanna love • and wh$ ilMmmn make the coldest day seem warm? • love you got me you got me - ooh you got me you got me you * make the time oooahh depending on how you see a thing to be happy and what is it th# con king a smile thru to strangers? • love • love love love got me • i don't know what you do (i don't know i don't know) the ship is free or it is sinking pass it on depending on how you see it /Y~\ but i like it i like it * i like what you're doing to me ■ the sands i believe in the power of lovejj i believe in the power of love • the song is over or you keep it smile on depending on how you see the times of time fade into dark * feel your pulse it's groove o'clock - pass it on we're wasting time or in a moving lii i believe • i believe in the power of ft* • let them call me naive but i still do do dodo a message to madness "feel music that's realness" • i can't but i jus wanna hear a good bet do do do do dodo oh ah |f i|| believe • ayee ayee ah • break • power of %p$ver of • power of love • what is 0> read your mind * so you got to let me know all the time * you got to keep moving keep movin keep movin i jus wanna hear a good beat you got to keep moving keep movin jits piano and IjjyF it that can make a lost soul found? • love •l||j||yt is it that can make the how it feels for it to be real * i can't read your mind * so you it's a universal sign eh eh everyone can do it i oh got to let me know all the time - how it feels for it to be real * coldest day seem warm? • love • and what is it thalcon brtng a smile thru you can change people's minds ! afrite when you feel it tonite ooh you got me you got me you got me * tah-duh you got if you choose to use it zu zu zu wah zu wah to strangers? • give it everything cause what you gi 1 smile on i jus wanna me you got me you got me - i don't know what you do (i pass it on i jus wanna smile on hear a good beat everything • open your heart • i believe i believe • power of • power of • power don't know i don't know) * but i like it i like it * i like what i jus wanna pass it on hear a good beat ta of love • i believe i believe i belieeeeeeve ayee ayee ayee aaaa • love love love you're doing to me • i like it i like it i like it i like it give a little whistle WHAT IS LOVE? CLIQUE E.S.R GROOVE IS IN THE HEART what is love? the chills that you spill esp ouijee yeeyee • esp runs rite through me • sometimes too blind i think i know whot love is . i think i know what love is? to see • the mirror between you ond me • esp boomerang me • esp i think i know yhen we're done i think mind orgy • like a songbird melody • whose cage is really free satisfaction what is love? in esp hypnotize me • esp 3d stylee • i'd walk a milely for your smilely • of what's to come what is love? our i couldn't ask for another mmm how do you say... the woi because it's really recommended quite highly • won't you listen to i couldn't osk for another delicious? we don't your groove to make our what the dj's spinnin • he's tappin into just what you're feelin • delovely i do deeply dig delectable our clique is won't you listen to what the dj's spinnin • he's tappin into just what no walls only the bridge devine the world is our ♦ my supperdish how do you say... world clique you're feelin • supernatural perhaps • supernatural perhaps* psychic my succotash wish degorgeous? world clique i couldn't osk for another dewith it? world clique power • psychic power • esp mystery see • esp skips through time see i couldn't osk for another degroovy? world clique groove is in the heart freaky mystiquery • it's esp i dig highly • copper beat conducts our small clique is like a lip in line the depth of hula groove it happens all the time but it's limited feet * like a doodle beat skipping down the street * in 3d nyc * move us to the nth hoop world clique is like a skip through time you can hold the bird but the song she sings is really free * psychic we' m~'. soy delicious? it's fine and i'm digging it horten how do you say delovely? i don't have to squeeze power * psychic power * midi soul is really groovy * on a roll this dj i couldn't how do you say delectable? just to appease your dream dj soul my peace is the world how do you say devine? moves me • to some he is a guru • he pushes grooves that go rite was on a roll how do you soy degroovy? the world is a clique i been told thru you • won't you listen to what the dj's spinnin • he's tappin into dewith it? the world is our diqui he can't be sold how do you say deee-iite? the world is a clique just what you're feelin * won't you listen to what the dj's spinnin * not various or malicious we've been trying to find out, is there really such a thing? world clique just de-lovely and delicious world clique he's tappin into just what you're feelin prove is in the heart ^dru^ilt,Super JD.I Dmitry I * a/sc Known as 21 §wttt 0<3<%'® or£u$<?r£W)iW Thus, -the Holodnjphic Groove Sound was has \>m riding the new accurately created and introduced to dll. age. ?ower Seal Wave for Hello... It’S Groove O’clock! aaite Some time. i %s psychic mixes have joined, minds while . scratching ihe universal ' itch into i World Clique. fin tranced b the musical revolutions into the. 6arden of fxse-lsU the three Oroov-nicKs Three different Cultures unifying \n the. &(^e D were destined b of communication, zoomed them to the realm Uf holographic COS-groove . (st«r tuwd for ntxt chapttr)j s> WHO WAS THAT? DEEP ENDING TO ALL THE DJ'S WHO SCRATCHED THE UNIVERSAL ITCH: PLAY ON! > who was that • who was that • someone walked their feet SPECIAL THANKS FOR INSPIRATION: AFRIKA BAMBAATAA,AYODELLA,BABY GREGOR, backroom music PRODUCTIONS, BETH our game is over i know it's too late * but still we learn from each through my house * who was that - who was that * someone JACOBSON, BILL COLEMAN "THE POOPKE EROM POUGHKEEPSIE; BILLY ERB, BOBBY KONDERS, BOOTSY, BOOTY BULLOCK, BRANDON, and every mistake • a sweet simple love maybe we've overgrown • BRUCE GARFIELD & THE GARFIELD GROUP CAPT. WIZZO, CC, C.G. GEN, CRAIG KALLMAN & BIG BEAT, DAISY & THE DOODLEBEATS, DAVID sneaking quiet as a mouse * who was that * who was that * BITHER, DAVID "SAY CHEESE" STEEL, DAVID SEAMAN & DMC/MIX MAG, DE LA SOUL, D&D STUDIOS, DON MONROE, ED ECKSTINE, someone left their shoes on the stairs * who was that - who i'll be getting over on my own * our love is like our shower • it runs ELAINE VALENTINE, EVERYONE AT ELEKTRA ENTERTAINMENT WORLDWIDE, FACHTNA O'CEALLAIGH, FIDEL FIELD, FRANK OWEN, was that * laughing just like no one cares - someone in hot and cold hot and cold • it's getting colder i want to hold you • FRED JACKSON, FRED REED, FRED WESLEY, FUMMY, FUNKY KING, FUNKENKLEIN, GARY KURFIRST, ANDREA STARR & OVERLAND, my house - i declare ■ playing cards * solitaire - who was let me be your blanket when it's getting colder • i'm depending GREGORY HOMZ & DOLPHINA, HAJIME TACHIBANA, HIROYUKINAKONO, HOUSE OF MONDO, INA MEIBACH, JEAN-BAPTISTE MONDINO, playing in my house * someone in my kitchen * munching out JILL SELSMAN, JIMMY PAULETTE, JOHN SIDEL, JOSHUA JORDAN, JULES KURZ, JUNGLE BROTHERS, JUSTIN TIME, KEVIN depending depending on you • i'm deep-ending • i'm at the deep peanut butter * there's no doubt * who was eating in my house * MAGNIFIQUE, KRAZE & M00NF0U, KYOKO MASUDA, KYOKI YABUKI, LADY BUNNY, LA HOMA VAN ZANDT, LAMBERT, LARRY TEE, someone took a bath ♦ mr.
Load more

Recommended publications
  • 3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
    “3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
    [Show full text]
  • Article on Conscious Hip Hop
    Article on Conscious Hip Hop Excerpt From De La Soul Article By Sheryl Garret, Sunday Times (London), July 1996 In 1989, De La Soul's debut album Three Feet High And Rising was hailed by New York's Village Voice as "the Sergeant Pepper of hip hop". The 24 short but sweet tracks rapped about everything from dandruff to their so-called Daisy Age philosophy, but the quirky humour and catchy hooks hid a more serious intent that may have got lost in the face of the album's massive commercial success. Along with the Jungle Brothers and A Tribe Called Quest, De La Soul were part of a loose organisation called Native Tongues, a hip hop collective based around zany humour, eclectic samples and, most of all, positive vibes. Hip hop meanwhile became dominated by the West Coast sound known as gangsta rap – a verbal cocktail of violence, sexism, guns, drugs and money. On the phone from the US, De La Soul's main spokesman Pos (Kelvin Mercer) says they're reluctant to be seen as a kind of "hip hop police", but admits they took a back-to-basics approach this time because "there are a lot of messages that we wanted to put across to the people, and if you want to teach something, you can't present eleventh- or twelfth-grade material to ninth-grade students". The problem, [Pos] points out, is that … one man's poetry is another's obscenity. If it were left to politicians, many would favour silencing all rap as an inconvenient articulation of black experience.
    [Show full text]
  • Song Lists and Suggestions
    Song Lists and Suggestions 1. Ceremony 2. Cocktail Hour 3. Grand Entrance 4. Dinner 5. First Dance 6. Father Daughter Dance 7. Mother Son Dance 8. Bouquet Toss 9. Garter Toss 10. Cake Cutting 11. Wedding (Top 200) If you don’t see a song you want, I probably already have it or I will be happy to get it. Page 1 of 1 Ceremony CD 20 songs, 1.2 hours, 133.9 MB Name Time Album Artist 1 All of Me (In the Style of John Lege… 4:38 Modern Acoustic Music for Beautif… Acoustic Guitar Guy 2 At Last (String Quartet Tribute to E… 2:40 The Gay Wedding Collection Vitamin String Quartet 3 Bittersweet Symphony 3:40 Symphonic Rock Royal Philharmonic Orchestra 4 Bridal March 1:48 For a Lifetime Jonathan Cain 5 Can't Help Falling in Love 2:54 Can't Help Falling in Love - Single Haley Reinhart 6 Can't Help Falling In Love 4:32 Vitamin String Quartet Tribute to M… Vitamin String Quartet 7 Canon in D 5:24 Wedding Music: Instrumental Song… Wedding Music Experts: The O'Nei… 8 The Cello Song 3:17 The Piano Guys The Piano Guys 9 From This Moment On 4:34 Wedding Music: Instrumental Song… Wedding Music Experts: The O'Nei… 10 Here Comes the Sun 3:20 Instrumental Songs - Soft Rock Gu… Instrumental Songs Music 11 In My Life 2:27 In My Life - A Piano Tribute to the… TJR 12 Just The Way You Are 4:22 The Piano Guys 2 The Piano Guys 13 Just the Way You Are 3:14 The Modern Wedding Collection, V… Vitamin String Quartet 14 Latch (Acoustic) 3:41 Nirvana Sam Smith 15 Marry Me 3:25 Save Me, San Francisco (Bonus Tr… Train 16 Over The Rainbow, Simple Gifts 3:44 The Piano Guys The
    [Show full text]
  • Lady Miss Kier
    Lady Miss Kier Kier Kirby más conocida como Lady Miss Kier, mítica vocalista, co-productora y bailarina de los no menos míticos Deee Lite. Este combo neoyorquino con talante cosmopolita fue fundado en 1986 por la propia Kier y Super Dj Dimitry, a quienes poco después se unió Towa Tey conformando el núcleo definitivo de esa máquina de fabricar hits para las pistas de baile. Su primer single \"Groove Is In The Heart\", editado en el 91, que paso de ser un white label para dj\'s a vender millones de copias, significaba un equilibrio perfecto entre las demandas del mercado pop y las necesidades de las pistas de baile, resumiendo el hedonismo químico de aquella época. Su debut en formato álbum \"World Clique\" llegó poco después, un trabajo que ellos mismo calificaron como \"holographic techno soul\" y que fusionaba p funk, breaks, house y techno. La Kier ejerció además de estilista y directora de arte del grupo, asumiendo desde el diseño de vestuario hasta el concepto de los videos y el diseño gráfico. Su segundo álbum, \"Infinity Within\", llegó un año más tarde y constituía un disco de protesta en contra de la guerra del golfo y a favor del pacifismo. Musicalmente continuaba profundizando en las premisas Deee Lite aunque se orientaba hacia un contexto ligeramente más electrónico. Su último álbum oficial fue \"Dewdrop In The Garden\" (1994) -a parte del recopilatorio de rarezas \"Sampladelic Relics & Dancefloor Oddities\" (1996)- un ejercicio de liberación sexual alimentado de sustancias alucinógenas que marcaba el punto final en la trayectoria de una banda genial e inclasificable.
    [Show full text]
  • Fascicule S4E5 Mai/Juin 2015 (Pdf, 7095Ko)
    à découper et à mettre sur son frigo son sur à mettre et à découper AGENDA DE FRIGO AU DOS AU FRIGO DE AGENDA SOMMAIRE Agenda de Frigo................. 2 Edito.................................... 3 Le programme.................... 5 Le poster de Terreur Graphique............... 32 Les actions culturelles........ 34 Le centre ressource............ 37 Le coin des studios.................38 L’instant scientifique...............40 La fiche utile du Docteur Fred.................. 42 Rewind................................. 51 Chez les copains................; 63 Les infos très pratiques du Temps Machine................64 AGENDA DE FRIGO LE TEMPS MACHINE CooRdonnées EDITO Le Temps Machine Parvis Miles Davis BP 134 37301 JOUÉ-LÈS-TOURS CEDEX Tel : 02 47 48 90 60 Courriel : [email protected] www.letempsmachine.com www.facebook.com/letempsmachine DANS LES FAITS ! Horaires Les Bureaux Du lundi au vendredi : Le Temps Machine - l’Espace Musiques murs l’actualité musicale et l’avant-garde, nous 10h00 / 12h30 & 14h00 / 18h00 LE Centre Actuelles de l’Agglomération de Tours - s’inscrit changerons d’atmosphère. Du mardi au vendredi : 10h00 / 13h00 et 14h00 / 18h00 dans le réseau d’une ville, d’un territoire. Il Samedi (uniquement quand concert le soir) : 14h00 / 17h00 Dans les faits ! En juin. Place à un laboratoire ; est destiné au plus grand nombre, ouvert à Et les soirs de concerts de 20h30 à 21h30 à ciel ouvert. Quand les beaux jours arrivent, Les soirs de concerts tous, s’adresse à tous, se construit et s’alimente Ouverture du bar : 20h30 comme vous, Le Temps Machine a des envies Ouverture de la billetterie : 20h30 par l’action de tous. Nos missions d’intérêt d’évasion.
    [Show full text]
  • APRIL 22 ISSUE Orders Due March 24 MUSIC • FILM • MERCH Axis.Wmg.Com 4/22/17 RSD AUDIO & VIDEO RECAP
    2017 NEW RELEASE SPECIAL APRIL 22 ISSUE Orders Due March 24 MUSIC • FILM • MERCH axis.wmg.com 4/22/17 RSD AUDIO & VIDEO RECAP ARTIST TITLE LBL CNF UPC SEL # SRP ORDERS DUE Le Soleil Est Pres de Moi (12" Single Air Splatter Vinyl)(Record Store Day PRH A 190295857370 559589 14.98 3/24/17 Exclusive) Anni-Frid Frida (Vinyl)(Record Store Day Exclusive) PRL A 190295838744 60247-P 21.98 3/24/17 Wild Season (feat. Florence Banks & Steelz Welch)(Explicit)(Vinyl Single)(Record WB S 054391960221 558713 7.98 3/24/17 Store Day Exclusive) Cracked Actor (Live Los Angeles, Bowie, David PRH A 190295869373 559537 39.98 3/24/17 '74)(3LP)(Record Store Day Exclusive) BOWPROMO (GEM Promo LP)(1LP Vinyl Bowie, David PRH A 190295875329 559540 54.98 3/24/17 Box)(Record Store Day Exclusive) Live at the Agora, 1978. (2LP)(Record Cars, The ECG A 081227940867 559102 29.98 3/24/17 Store Day Exclusive) Live from Los Angeles (Vinyl)(Record Clark, Brandy WB A 093624913894 558896 14.98 3/24/17 Store Day Exclusive) Greatest Hits Acoustic (2LP Picture Cure, The ECG A 081227940812 559251 31.98 3/24/17 Disc)(Record Store Day Exclusive) Greatest Hits (2LP Picture Disc)(Record Cure, The ECG A 081227940805 559252 31.98 3/24/17 Store Day Exclusive) Groove Is In The Heart / What Is Love? Deee-Lite ECG A 081227940980 66622 14.98 3/24/17 (Pink Vinyl)(Record Store Day Exclusive) Coral Fang (Explicit)(Red Vinyl)(Record Distillers, The RRW A 081227941468 48420 21.98 3/24/17 Store Day Exclusive) Live At The Matrix '67 (Vinyl)(Record Doors, The ECG A 081227940881 559094 21.98 3/24/17
    [Show full text]
  • Golden Note Entertainment Inc. Entertainment Checklist
    Golden Note Entertainment Inc. Entertainment Checklist Initial Consultation Have a very informative meeting and learn about all of the wonderful services. Sign a contract and book a really awesome Entertainer. Receive organizational material. Go home knowing that you made a wise decision. One Month Prior to Affair Start filling out information in folder and picking out music. Check contract and verify all times and event venue are still the same. Notify entertainer of any changes in contract. Decide if you wish to upgrade or add anything to your package. Prepare a copy of your floor plan, CDs to be given to entertainer, and have the name address and phone number of your photographer and videographer ready for final. Two Weeks Prior to Affair Meet with Entertainer for Final Consultation. MAKE SURE YOU: o Fill out Wedding Sheet – Special Notes – Special Requests. Remember, all information during the final consultation is final. Golden Note does not guarantee to accommodate any changes after the final consultation! Announcements and special notes are easy. We pride ourselves on taking care of almost every request from our client. Doing this takes time. Please make sure that if you have any music changes after the final, that you bring the CD’s to the event with you. o Have a copy of your floor plan. o Have the name, address, and phone number of the photographer and videographer. Pay final balance if any. Day Prior to Affair If paying balance on the day of the affair, be sure it’s prepared in cash, certified check, or money order.
    [Show full text]
  • Plugged out Tompkins Ave That Made Them Feel »Strictly Dan Stuckie«, in a World the Jungle Brothers D
    b/w reality chasing Mace (De La’s DJ/resident bear) on a push-scooter, takes an exasperated pause. He shakes his head under a thought bubble: »This video makes no sense.« But it did. Native Tongues had so much fun finishing each other’s thoughts, you sensed them in the studio even when they weren’t on the song. Tribe would burn through at least four different versions of »Scenario« while sorting out the final line-up. (These were hallowed spots.) »Buddy« invented the posse cut P L U G G E D O UT in the rapper’s cult of Me – beads on a string instead of gold rope narcissism. Often mistook for a heady granola rap commune, in the ›Golden Age‹ of Pub- lic Enemy’s and Boogie Down Production’s, the darker Native Tongue songs Dave Tompkins about crack addiction and incest occupy rap’s memory as much as »Bonita Ap- plebum.« Q-Tip’s conflicted »Sucka Nigga« could’ve had more on NWA than the FBI. Afrika Baby Bam of the Jungle Brothers coined the Native Tongue collecti- ve in the spirit of Bambaataa’s Zulu Nation and George Clinton’s Parliament- Funkadelic. The acknowledgments for Jungle Brothers’ second album – 1989’s »Done By the Forces of Nature« – read like the ultimate play list but was grou- ped according to time zones. Grouped according to time zones, Ultramagnetic is held solely responsible for The Future, a future where Kool Keith claimed his 1 3 4 he head of Chi-Ali is spinning. In fact, the entire chair of Chi-Ali is spin- voice could dim satellites.
    [Show full text]
  • Colección Torre Rosa De Vinilos Y
    ARTISTA TITULO AÑO GENERO FORMATO SELLO ESTADO CARATULA ESTADO VINILO RADIO FUTURA 37 GRADOS 1987 POP ESPAÑOL SINGLE ARIOLA BUENO BUENO CARAMBA HUBBA HUBBA ZOOT ZOOT 1981 SINGLE VICTORIA BUENO BUENO LYDIA MURDOCK SUPERSTAR 1983 SINGLE WEA BUENO BUENO THE POLICE DON'T STAND SO CLOSE TO ME 1980 POP INGLES SINGLE A&M BUENO BUENO THE BLOW MONKEYS IT DOESN'T HAVE TO BE THAT WAY 1986 POP INGLES SINGLE RCA BUENO BUENO P. LION DREAM 1984 SPAGUETTI DISCO SINGLE CBS BUENO BUENO ROBBIE NEVIL C'EST LA VIE 1986 SINGLE EMI BUENO BUENO NIK KERSHAW WOULDN'T IT BE GOOD 1984 POP INGLES SINGLE WEA BUENO BUENO EUROPE THE FINAL COUNTDOWN 1986 POP ROCK SINGLE EPIC BUENO BUENO CULTURE CLUB MOVE AWAY 1986 POP INGLES SINGLE VIRGIN BUENO BUENO ERASURE SOMETIMES 1986 TECNO POP SINGLE MUTE BUENO BUENO PAUL YOUNG SOME PEOPLE 1986 POP INGLES SINGLE CBS BUENO BUENO NIK KERSHAW NOBODY KNOWS 1986 POP INGLES SINGLE MCA BUENO BUENO STEPHANIE ONE LOVE TO GIVE 1986 POP FRANCES SINGLE CARRERE BUENO BUENO MODERN TALKING ATLANTIS IS CALLING 1986 POP ALEMAN SINGLE ARIOLA BUENO BUENO DAVID BOWIE DAY IN DAY OUT 1987 SINGLE EMI BUENO BUENO DURAN DURAN NOTORIUS 1986 POP INGLES SINGLE EMI BUENO BUENO LOU GRAMM MIDNIGHT BLUE 1987 SINGLE ATLANTIC BUENO BUENO THE PSYCHEDELIC FURS HEARTBREAK BEAT 1986 SINGLE CBS BUENO BUENO ROD STEWART DA YA THNIK I'M SEXY? 1978 POP INGLES SINGLE HISPAVOX BUENO BUENO RED BOX LEAN ON ME 1985 POP INGLES SINGLE SIRE BUENO BUENO MATCHBOX MIDNITE DYNAMOS SINGLE BUENO BUENO QUINCY JONES AI NO CORRIDA 1981 SINGLE A&M REGULAR BUENO GREGORY ABBOTT SHAKE YOU DOWN
    [Show full text]
  • The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
    (Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliò still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Édith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chérie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're
    [Show full text]
  • Plugged out 2013
    Repositorium für die Medienwissenschaft Dave Tompkins Plugged Out 2013 https://doi.org/10.25969/mediarep/2252 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Tompkins, Dave: Plugged Out. In: POP. Kultur und Kritik, Jg. 2 (2013), Nr. 1, S. 134– 137. DOI: https://doi.org/10.25969/mediarep/2252. Erstmalig hier erschienen / Initial publication here: https://nbn-resolving.org/urn:nbn:de:hbz:6:3-20131111177 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an.
    [Show full text]
  • The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture
    arts Article The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture Adam de Paor-Evans Faculty of Culture and the Creative Industries, University of Central Lancashire, Lancashire PR1 2HE, UK; [email protected] Received: 24 October 2018; Accepted: 12 November 2018; Published: 16 November 2018 Abstract: Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
    [Show full text]