DOCSLIB.ORG

TAASA -This Is America Song Lyrics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TAASA -This Is America Song Lyrics Song #1 Nina Simone by Four Women My skin is black My arms are long My hair is woolly My back is strong Strong enough to take the pain Inflicted again and again What do they call me? My name is Aunt Sarah My name is Aunt Sarah Aunt Sarah My skin is yellow My hair is long Between two worlds I do belong But my father was rich and white He forced my mother late one night And what do they call me? My name is Saffronia My name is Saffronia My skin is tan My hair is fine My hips invite you My mouth like wine Whose little girl am I? Anyone who has money to buy What do they call me? My name is Sweet Thing My name is Sweet Thing My skin is brown My manner is tough I'll kill the first mother I see! My life has been rough I'm awfully bitter these days Because my parents were slaves What do they call me? My name is Peaches! Song #2 Aretha Franklin [Written by Otis Redding] What you want, baby, I got it What you need, do you know I got it? All I'm askin' is for a little respect when you get home (Just a little bit) Hey baby (Just a little bit) when you get home (Just a little bit) mister (Just a little bit) I ain't gonna do you wrong while you're gone Ain't gon' do you wrong 'cause I don't wanna All I'm askin' is for a little respect when you come home (Just a little bit) Baby (Just a little bit) When you get home (Just a little bit) Yeah (Just a little bit) I'm about to give you all of my money And all I'm askin' in return, honey Is to give me my propers when you get home (Just a, just a, just a, just a) Yeah, baby (Just a, just a, just a, just a) When you get home (Just a little bit) Yeah (Just a little bit) Ooh, your kisses, sweeter than honey And guess what? So is my money All I want you to do for me, is give it to me when you get home (Re, re, re ,re) Yeah baby (Re, re, re ,re) Whip it to me (Respect, just a little bit) When you get home, now (Just a little bit) R-E-S-P-E-C-T, find out what it means to me R-E-S-P-E-C-T, take care, TCB, oh (Sock it to me, sock it to me, sock it to me, sock it to me) A little respect (sock it to me, sock it to me, sock it to me, sock it to me) Whoa, babe (Just a little bit) A little respect (Just a little bit) I get tired (Just a little bit) Keep on tryin' (Just a little bit) You're runnin' out of fools (Just a little bit) And I ain't lyin' (Just a little bit) (Re, re, re, re) Start when you come home (Re, re, re, respect) Or you might walk in (Just a little bit) And find out I'm gone (Just a little bit) I gotta have (Just a little bit) A little respect (Just a little bit) Song #3 2 Pac Changes [Verse 1: 2Pac] I see no changes, wake up in the morning and I ask myself Is life worth livin'? Should I blast myself? I'm tired of bein' poor and, even worse, I'm black My stomach hurts so I'm lookin' for a purse to snatch Cops give a damn about a negro Pull the trigger, kill a nigga, he's a hero "Give the crack to the kids, who the hell cares? One less hungry mouth on the welfare!" First ship 'em dope and let 'em deal to brothers Give 'em guns, step back, watch 'em kill each other "It's time to fight back," that's what Huey said Two shots in the dark, now Huey's dead I got love for my brother But we can never go nowhere unless we share with each other We gotta start makin' changes Learn to see me as a brother instead of two distant strangers And that's how it's supposed to be How can the Devil take a brother if he's close to me? I'd love to go back to when we played as kids But things change… and that's the way it is [Chorus: Talent] That's just the way it is Things'll never be the same That's just the way it is, aww yeah That's just the way it is Things'll never be the same That's just the way it is, aww yeah Claim your domain before someone else does and start your [Verse 2: 2Pac] I see no changes, all I see is racist faces Misplaced hate makes disgrace to races We under, I wonder what it takes to make this One better place, let's erase the wasted Take the evil out the people, they'll be actin' right ‘Cause both black and white are smokin' crack tonight And the only time we chill is when we kill each other It takes skill to be real, time to heal each other And although it seems heaven-sent We ain't ready to see a black president It ain't a secret, don't conceal the fact The penitentiary's packed and it's filled with blacks But some things will never change Try to show another way but you stayin' in the dope game Now tell me, what's a mother to do? Bein' real don't appeal to the brother in you You gotta operate the easy way "I made a G today," but you made it in a sleazy way Sellin' crack to the kids "I gotta get paid!" — well hey, but that's the way it is [Chorus: Talent] That's just the way it is Things'll never be the same That's just the way it is, aww yeah That's just the way it is Things'll never be the same That's just the way it is, aww yeah our domain before someone else does and start your [Interlude: 2Pac] We gotta make a change It's time for us as a people to start makin' some changes Let's change the way we eat Let's change the way we live And let's change the way we treat each other You see the old way wasn't workin' So it's on us to do what we gotta do to survive [Verse 3: 2Pac] And still I see no changes; can't a brother get a little peace? It's war on the streets and a war in the Middle East Instead of war on poverty They got a war on drugs so the police can bother me And I ain't never did a crime I ain't have to do But now I'm back with the facts, givin' it back to you Don't let 'em jack you up, back you up Crack you up and pimp-smack you up You gotta learn to hold your own They get jealous when they see you with your mobile phone But tell the cops they can't touch this I don't trust this, when they try to rush I bust this That's the sound of my tool You say it ain't cool, my mama didn't raise no fool And as long as I stay black, I gotta stay strapped And I never get to lay back ‘Cause I always got to worry 'bout the payback Some buck that I roughed up way back Comin' back after all these years "Rat-a-tat-tat-tat-tat," that's the way it is [Chorus: Talent] That's just the way it is Things'll never be the same That's just the way it is, aww yeah (You're my brother, you're my sister) That's just the way it is Things'll never be the same That's just the way it is, aww yeah [Outro: 2Pac] Some things'll never change Song #4 Black Eyed Peas - Where Is the Love? [Verse 1: will.i.am] What's wrong with the world, mama? People livin' like they ain't got no mamas I think the whole world's addicted to the drama Only attracted to the things that'll bring a trauma Overseas, yeah, we tryin' to stop terrorism But we still got terrorists here livin' In the USA, the big CIA The Bloods and the Crips, and the KKK But if you only have love for your own race Then you only leave space to discriminate And to discriminate only generates hate And when you hate, then you're bound to get irate Madness is what you demonstrate And that's exactly how anger works and operates Man, you gotta have love, this'll set us straight Take control of your mind and meditate Let your soul gravitate to the love, y'all [Pre-Chorus: Justin Timberlake] People killin', people dyin' Children hurt and you hear 'em cryin' Can you practice what you preach? And would you turn the other cheek? Father, father, father, help us Send some guidance from above These people got me, got me questionin' [Chorus: Justin Timberlake (and Fergie)] Where is the love? (love) Where is the love? (the love) Where is the love? (the love) Where is the love? (the love, the love) [Verse 2: Taboo] It just ain't the same, old ways have changed New days are strange, is the world insane? If love and peace is so strong Why are there pieces of love that don't belong Nations droppin' bombs Chemical gases fillin' lungs of little ones With ongoing sufferin' as the youth die young So ask yourself, is the lovin' really gone? So I can ask myself, really, what is going wrong? With this world that we livin' in, people keep on givin' in Makin' wrong decisions, only visions of them dividends Not respectin' each other, deny thy brother A war is goin' on, but the reason's undercover The truth is kept secret, and swept under the rug If you never know truth, then you never know love Where's the love, y'all? (Come on, I don't know) Where's the truth, y'all? (Come on, I don't know) And where's the love y'all? [Pre-Chorus: Justin Timberlake] People killin', people dyin' Children hurt and you hear them cryin' Will you practice what you preach? And would you turn the other cheek? Father, father, father, help us Send some guidance from above These people got me, got me questionin' [Chorus: Justin Timberlake (and Fergie)] Where is the love? (love) Where is the love? (the love) Where is the love? (the love) Where is the love? (the love, the love) [Verse 3: Apl.de.ap] I feel the weight of the world on my shoulder As I'm getting older, y'all people gets colder Most of us only care about money-makin' Selfishness got us followin' the wrong direction Wrong information always shown by the media Negative images is the main criteria Infecting the young minds faster than bacteria Kids wanna act like what they see in the cinema Whatever happened to the values of humanity? Whatever happened to the fairness and equality? Instead of spreadin' love we spreadin' animosity Lack of understandin' leading us away from unity That's the reason why sometimes I'm feelin' under That's the reason why sometimes I'm feelin' down It's no wonder why sometimes I'm feelin' under Gotta keep my faith alive 'til love is found Now
Load more

Recommended publications
  • Spring/Summer 2014 Newsletter of Rocky Mountain Bird Observatory Number 45 the PRIMARY SOURCE
    Spring/Summer 2014 Newsletter of Rocky Mountain Bird Observatory Number 45 THE PRIMARY SOURCE Our mission is to conserve birds and their habitats. RMBO Leads Landmark Meeting in Costa Rica By Teddy Parker-Renga to breeding, threats to non-breeding and it’s important for RMBO and partners to Communications Manager population trend) using the Partners In support and advance conservation abroad, In March, Rocky Mountain Bird Flight species assessment process. Scores he said. Observatory spearheaded the first-ever ranged from 1 (low vulnerability) to 5 Next steps include developing com- conservation assessment of the birds of (high vulnerability) for each factor, with munication tools and messages to engage Central America. a higher overall score indicating a greater stakeholders in conserving at-risk species. At the meeting held in San Vito, Costa vulnerability to population decline or Thank you to all of the partners who Rica, 30 participants representing the extinction. attended the meeting and Environment seven Central American countries, Mexico International Director Arvind Panjabi Canada, Missouri Department of Conser- and the U.S. assessed all 407 bird species said partners who attended the meeting vation and USGS for funding. unique to Central America, as well as 500- saw tremendous value in the process as View photos from the meeting and the plus species shared between Mexico and a way to establish conservation priori- amazing species we saw birding in Costa Central America. This included landbirds, ties for birds and habitat in their own Rica at www.facebook.com/RMBObirds. shorebirds, waterbirds and waterfowl. countries. Since many bird species that To learn more about the Partners In During the assessment, birds were breed in the Rockies and elsewhere in the Flight species assessment process, visit http:// assigned scores for three factors (threats western U.S.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Thomas Aquinas: Soul-Body Connection and the Afterlife Hyde Dawn Krista University of Missouri-St
    University of Missouri, St. Louis IRL @ UMSL Theses Graduate Works 4-16-2012 Thomas Aquinas: Soul-Body Connection and the Afterlife Hyde Dawn Krista University of Missouri-St. Louis, [email protected] Follow this and additional works at: http://irl.umsl.edu/thesis Recommended Citation Krista, Hyde Dawn, "Thomas Aquinas: Soul-Body Connection and the Afterlife" (2012). Theses. 261. http://irl.umsl.edu/thesis/261 This Thesis is brought to you for free and open access by the Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. Thomas Aquinas: Soul-Body Connection and the Afterlife Krista Hyde M.L.A., Washington University in St. Louis, 2010 B.A., Philosophy, Southeast Missouri State University – Cape Girardeau, 2003 A Thesis Submitted to The Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Arts in Philosophy April 2012 Advisory Committee Gualtiero Piccinini, Ph.D. Chair Jon McGinnis, Ph.D. John Brunero, Ph.D. Copyright, Krista Hyde, 2012 Abstract Thomas Aquinas nearly succeeds in addressing the persistent problem of the mind-body relationship by redefining the human being as a body-soul (matter-form) composite. This redefinition makes the interaction problem of substance dualism inapplicable, because there is no soul “in” a body. However, he works around the mind- body problem only by sacrificing an immaterial afterlife, as well as the identity and separability of the soul after death. Additionally, Thomistic psychology has difficulty accounting for the transmission of universals, nor does it seem able to overcome the arguments for causal closure.
    [Show full text]
  • Assessment Day 2013 1. Gender 2. Race Or Ethnicity
    Campus Activities Board Survey Results – Assessment Day 2013 Last Modified: 03/28/2013 1. Gender # Answer Response % 1 Male 67 34% 2 Female 133 67% Total 200 100% 2. Race or Ethnicity # Answer Response % 1 White 182 91% African 2 9 5% American 3 Hispanic 3 2% Asian/Pacific 4 4 2% Islander American 5 Indian/Alaskan 0 0% Native 6 Other 2 1% Total 200 100% Other white/black Human 3. Current Classification # Answer Response % 1 Freshman 24 12% 2 Sophomore 38 19% 3 Junior 32 16% 4 Senior 77 39% Graduate or 5 29 15% Professional Total 200 100% 4. Major # Answer Response % 1 Accounting 2 1% 2 Economics - BBA 1 1% 3 Economics - BA 1 1% 4 International Business 0 0% 5 Finance 3 2% 6 Management 10 5% 7 Marketing 8 4% 8 Management Information Systems 0 0% 9 MBA 2 1% 10 Health Care Administration 1 1% 11 Human Resource Management 1 1% 12 Nurse Anesthesia 0 0% 13 Business Undecided 0 0% 14 Early Childhood Education 0 0% 15 Elementary Education 4 2% 16 Secondary Education 7 4% 17 Pre-Elementary Education 0 0% 18 Pre-Secondary Education 1 1% 19 Family and Consumer Science 0 0% 20 Hospitality Management 0 0% 21 Education Undecided 0 0% 22 Special Education 2 1% 23 Literacy Education 0 0% 24 Educational Leadership Studies 0 0% 25 Counseling 1 1% 26 EdD Program 0 0% 27 EdS Program 0 0% 28 EdS in School Psychology 0 0% 29 MAT Program 0 0% 30 RBA Program 1 1% 31 Bachelor of Applied Science Program 1 1% 32 Education Undecided 0 0% 33 Music 4 2% 34 Theatre 2 1% 35 Art 4 2% 36 Pre-Music 0 0% 37 Undecided Fine Arts 0 0% 38 Athletic Training 4 2% 39 Exercise
    [Show full text]
  • Oral History Interview with Howard Finster, 1984 June 11
    Oral history interview with Howard Finster, 1984 June 11 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface Preface Interview with The Reverend Howard Finster conducted by Liza Kirwin in the Finley Conference Room at the National Museum of American Art and National Portrait Gallery building, Washington, D.C., June 11, 1984. Preface The following oral history transcript is the result of a tape recorded interview with Howard Finster on June 11, 1984. The interview took place in Washington, D.C., and was conducted by Liza Kirwin for the Archives of American Art, Smithsonian Institution. While we have made an attempt to convey The Reverend Finster’s speech pattern and dialect, the reader should bear in mind that this is a verbatim transcript of spoken, rather than written prose Interview LIZA KIRWIN: Mr. Finster, could you begin by talking about when and where you were born, and a little bit about your family background? HOWARD FINSTER: Yeah, I’ll start talking and you just break in when you want to because I never quit, you know. Just break if I talk too long. I was born at Valley Head, Alabama. It’s about 42 miles south of Chattanooga and about 200 miles west of Atlanta. I was born there in Alabama. I stayed on the farm a good while–with my father and mother and farm.
    [Show full text]
  • Friday, July 19
    Movies starting Friday, July 19 www.marcomovies.com America’s Original First Run Food Theater! We recommend that you arrive 30 minutes before ShowTime. “The Lion King” Rated PG Run Time 2:00 Starring (voices) Donald Glover, Beyonce Knowles and Seth Rogen Start 2:40 5:40 8:45 End 4:50 7:40 10:45 Rated PG for sequences of violence and peril, and some thematic elements. “Pavarotti: Genius is Forever” Rated PG-13 Run Time 2:00 Starring Luciano Pavarotti Start 2:50 5:50 9:00 End 4:50 7:50 11:00 Rated PG-13 for brief strong language and a war related image. “Crawl” Rated R Run Time 1:30 Starring Kaya Scodelario and Barry Pepper Start 3:00 6:00 9:00 End 4:30 7:30 10:30 Rated R for bloody creature violence, and brief language. “Spider-Man: Far From Home” Rated PG-13 Run Time 2:10 Starring Tom Holland and Samuel L. Jackson Start 2:30 5:30 8:45 End 4:40 7:40 10:55 Rated PG-13 for sci-fi action violence, some language and brief suggestive comments. ***Prices*** Matinees $11.00 (3D $13.00) Adults $13.50 (3D $15.50) Seniors and Children under 12 $11.00 (3D $13.00) Visit Marco Movies at www.marcomovies.com facebook.com/MarcoMovies The Lion King (PG) (voices) • Donald Glover • Beyonce Knowles • Disney’s The Lion King, directed by Jon Favreau, journeys to the African savanna where a future king is born. Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny.
    [Show full text]
  • Greek and Latin Roots, Prefixes, and Suffixes
    GREEK AND LATIN ROOTS, PREFIXES, AND SUFFIXES This is a resource pack that I put together for myself to teach roots, prefixes, and suffixes as part of a separate vocabulary class (short weekly sessions). It is a combination of helpful resources that I have found on the web as well as some tips of my own (such as the simple lesson plan). Lesson Plan Ideas ........................................................................................................... 3 Simple Lesson Plan for Word Study: ........................................................................... 3 Lesson Plan Idea 2 ...................................................................................................... 3 Background Information .................................................................................................. 5 Why Study Word Roots, Prefixes, and Suffixes? ......................................................... 6 Latin and Greek Word Elements .............................................................................. 6 Latin Roots, Prefixes, and Suffixes .......................................................................... 6 Root, Prefix, and Suffix Lists ........................................................................................... 8 List 1: MEGA root list ................................................................................................... 9 List 2: Roots, Prefixes, and Suffixes .......................................................................... 32 List 3: Prefix List ......................................................................................................
    [Show full text]
  • 2021 Song Index
    FEB 20 2021 SONG INDEX 100 (Ozuna Worldwide, BMI/Songs Of Kobalt ASTRONAUT IN THE OCEAN (Harry Michael BOOKER T (RSM Publishing, ASCAP/Universal DEAR GOD (Bethel Music Publishing, ASCAP/ FIRE FOR YOU (SarigSonnet, BMI/Songs Of GOOD DAYS (Solana Imani Rowe Publishing Music Publishing America, Inc., BMI/Music By Publishing Deisginee, APRA/Tyron Hapi Publish- Music Corp., ASCAP/Kid From Bklyn Publishing, Cory Asbury Publishing, ASCAP/SHOUT! MP Kobalt Music Publishing America, Inc., BMI) Designee, BMI/Songs Of Universal, Inc., BMI/ RHLM Publishing, BMI/Sony/ATV Latin Music ing Designee, APRA/BMG Rights Management ASCAP/Irving Music, Inc., BMI), HL, LT 14 Brio, BMI/Capitol CMG Paragon, BMI), HL, RO 23 Carter Lang Publishing Designee, BMI/Zuma Publishing, LLC, BMI/A Million Dollar Dream, (Australia) PTY LTD, APRA) RBH 43 BOX OF CHURCHES (Lontrell Williams Publish- CST 50 FIRES (This Little Fire, ASCAP/Songs For FCM, Tuna LLC, BMI/Warner-Tamerlane Publishing ASCAP/WC Music Corp., ASCAP/NumeroUno AT MY WORST (Artist 101 Publishing Group, ing Designee, ASCAP/Imran Abbas Publishing DE CORA <3 (Warner-Tamerlane Publishing SESAC/Integrity’s Alleluia! Music, SESAC/ Corp., BMI/Ruelas Publishing, ASCAP/Songtrust Publishing, ASCAP), AMP/HL, LT 46 BMI/EMI Pop Music Publishing, GMR/Olney Designee, GEMA/Thomas Kessler Publishing Corp., BMI/Music By Duars Publishing, BMI/ Nordinary Music, SESAC/Capitol CMG Amplifier, Ave, ASCAP/Loshendrix Production, ASCAP/ 2 PHUT HON (MUSICALLSTARS B.V., BUMA/ Songs, GMR/Kehlani Music, ASCAP/These Are Designee, BMI/Slaughter
    [Show full text]
  • Raisin in the Sun Quotations for Writing the Family & The
    RAISIN IN THE SUN QUOTATIONS FOR WRITING THE FAMILY & THE AMERICAN DREAM WALTER: DREAMS OF SUCCESS: • Walter talks about the missed business opportunity with Charlie Atkins. P.32 • Complains that he has nothing to pass on to Travis. “I have been married eleven years and I got a boy who sleeps in the livingroom -- and all I got to give him is stories about how rich white people live…” p. 34 • To Mama: “Do you know what this money means to me? Do you know what this money can do for us? Mama—Mama—I want so many things.” P. 73 • Mama: “Son, how come you talk so much ‘bout money?” Walter: “Because, it is life, Mama!” Mama: “Oh—so now its life. Money is life. Once upon a time freedom use to be life—now its money. I guess the world really do change…” Walter: “No—it was always money, Mama. We just didn’t know about it.” p. 74 • “Listen, man, I got some plans that could turn this city upside down. I mean think like he does. Big. Invest big, gamble big, hell, lose big if you have to, you know what I mean. It’s hard to find a man on this whole Southside who understands my kind of thinking—you dig?” p. 84 • Walter to George: “And you—ain’t you bitter, man? Ain’t you just about had it yet? Don’t you see no stars gleaming that you can’t reach out and grab? … Here I am a giant—surrounded by ants. Ants who can’t even understand what it is the giant is talking about” p.85 • Walter to Travis: “Just tell me where you want to go to school and you’ll go.
    [Show full text]
  • 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.
    [Show full text]
  • The Week's Pocket Picks
    ✓ Festival H Street Festival In 2002 the D.C. government launched the GetOut Main Streets program to revitalize seven busi- ness districts in the city. H Street Main Street, The week’s pocket picks serving the Northeast corridor, is one of the BY SAMANTHA SAULT program’s biggest successes, as just over a decade later the neighborhood is buzzing with new restaurants, shops, arts venues and, soon, streetcar service. On Saturday H Street Main Street will show off its progress during the H Street Festival, with participation from more than 200 businesses and community organiza- tions. Covering 10 blocks along H Street NE, the festival will include 500 musicians and artists of all genres, fi tness demonstrations and interactive art displays, plus 70 food and beverage vendors, including neighborhood restaurants and the city’s favorite food trucks. The festival kicks off with the Washington Nationals Presidents racing along 8th and H streets. While you’re there, be sure to get a look at the D.C. Streetcars, which are expected to begin running this fall. Saturday from noon to 7 p.m. on H Street NE between the 400 and 1400 blocks. Web: hstreet.org. Concert Erasure Fans of the English New Wave group Era- sure have been eagerly awaiting Festival the arrival of the band’s 16th stu- Zoo Fiesta dio album, “The Lion tamarins, anteaters and Andean bears — oh my! On Sunday Violet Flame,” the National Zoo will celebrate National Hispanic Heritage Month which drops by featuring these critters and others native to Latin America. Get on Tuesday.
    [Show full text]
  • A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
    [Show full text]