Sugarhill Gang Livin' in the Fast Lane Mp3, Flac, Wma

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Sugarhill Gang Livin' In The Fast Lane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Livin' In The Fast Lane Country: Australia & New Zealand Released: 1984 MP3 version RAR size: 1986 mb FLAC version RAR size: 1409 mb WMA version RAR size: 1468 mb Rating: 4.4 Votes: 697 Other Formats: MPC VOX XM DMF AHX AAC AU Tracklist Hide Credits Girls A1 5:38 Written-By – A. Goodman*, G. O'Brien*, H. Ray*, M. Wright* Fast Lane A2 5:06 Written-By – Joseph E. Wright, William P. Wingfield* I Like What You're Doing A3 5:25 Written-By – G. Henry* Kick It Live A4 6:19 Written-By – M. Hepburn*, Pleasure Troy B1 6:30 Written-By – Guy O'Brien, H. Jackson*, M. Wright* Real Funky B2 6:00 Written-By – C. Cook*, J. Robinson Jr.* Space Race B3 8:00 Written-By – B. Alexander*, D. Wimbish*, E. Fletcher* Companies, etc. Phonographic Copyright (p) – Sugar Hill Records Ltd. Manufactured By – RCA Limited, Australia Credits Design – Hemu Aggarwal Liner Notes – Master Gee Notes ℗©1984 Sugarhill Records, Ltd. Barcode and Other Identifiers Matrix / Runout (Label A, Etched A): SH 9206 A Matrix / Runout (Label B, Etched B): SH 9206 A Other versions Category Artist Title (Format) Label Category Country Year Livin' In The Fast Lane Sugar Hill SH 9206 Sugarhill Gang SH 9206 US 1984 (LP, Album) Records Livin' In The Fast Lane Sugar Hill 540095 Sugarhill Gang 540095 France 1984 (LP, Album) Records, Vogue Livin' In The Fast Lane Sugar Hill SH 9206 Sugarhill Gang SH 9206 Sweden 1984 (LP, Album, TP) Records Livin' In The Fast Lane Sugar Hill SHC-9206 Sugarhill Gang SHC-9206 US 1984 (Cass, Album) Records Livin' In The Fast Lane Sugar Hill SH 9206 Sugarhill Gang SH 9206 US 1984 (LP, Album) Records Related Music albums to Livin' In The Fast Lane by Sugarhill Gang 1. The Sequence - Funk You Up 2. Sugarhill Gang - The Lover In You 3. The Sugarhill Gang - 8th Wonder 4. Sugar Hill Gang - The Lover In You 5. Sugarhill Gang - The Greatest Hits Of Sugarhill Gang (2004 Tour) 6. Sugarhill Gang - The Down Beat 7. Various - Street Beat Volume II 8. Sugarhill Gang - Rapper's Delight 9. Sugarhill Gang - Rapper's Delight (Hip Hop Remix '89) 10. Sugarhill Gang - Rapper's Delight / Rapper's Delight.

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Chic & Nile Rodgers – Ett Rockband För
Lördagspremium: Chic & Nile Rodgers – ett rockband för discorörelsen Att kalla discomusiken för en fluga är att göra det alldeles för lätt för sig. Precis som med alla genrer som har så tydliga attribut och förtecken – hårdrock, punk, new romantic – är det lätt att göra narr av och underskatta discons inverkan på musikhistorien och populärkulturen i stort. Faktum är att alla vet hur discomusik låter och vad som kännetecknar den korta period den regerade på listorna. Och med tiden har dess simpla budskap om att dansa och ha roligt gång på gång omfamnats av det hårda, moderna samhället, lika mycket som dess musikaliska attribut gång på gång återanvänts i alla typer av dansmusik. Om man skrattar åt disco idag gör man det mer på grund av de hårresande utstyrslarna och de fåniga, om än stilbildande dansrörelserna än de de facto grymt svängiga låtarna och extremt detaljerade – och minst lika stilbildande produktionerna. Tiden har på många sätt gett discon rätt, åtminstone ur ett musikaliskt perspektiv. ”Tiden har på många sätt gett discon rätt” Precis som så många andra hårt arbetande svarta musiker i New York var Nile Rodgers, född 1952, uppvuxen med R&B, soul och jazz. Hans första betalda gig var dock någonting helt annat – som musiker i The Sesame Street Band, som gjorde musiken till barnprogrammet med samma namn. Efter att ha backat bland andra Screamin Jay Hawkins på legendariska Apollo Theatre träffade han 1970 basisten Bernard Edwards – som han för all framtid skulle komma att kalla ”min partner” – och tillsammans kompade de ett stort antal mer eller mindre kända artister innan de bildade sitt eget Big Apple Band, som hade några mindre lokala hits i början av 70-talet.
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The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything.
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“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.
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Sugar Hill Label Album Discography
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Rapper's Delight
The Sugarhill Gang: Rapper's Delight (1979) - lyrics I said-a hip, hop, the hippie, the hippie To the hip hip hop-a you don't stop the rock It to the bang-bang boogie, say up jump the boogie To the rhythm of the boogie, the beat Now what you hear is not a test, I'm rappin' to the beat And me, the groove and my friends are gonna try to move your feet See I am Wonder Mike and I'd like to say hello To the black, to the white, the red and the brown, the purple and yellow But first I gotta bang bang the boogie to the boogie Say up jump the boogie to the bang bang boogie Let's rock, you don't stop Rock the riddle that will make your body rock Well, so far youve heard my voice, but I brought two friends along And next on the mic is my man Hank: come on, Hank, sing that song Check it out: I'm the C-a-s-an-the-o-v-a, and the rest is f-l-y Y'see I go by the code of the doctor of the mix and these reasons, I'll tell ya why: Y'see I'm six-foot-one and I'm tons of fun, and I dress to a T Y'see I got more clothes than Muhammad Ali and I dress so viciously I got bodyguards, I got two big cars that definitely ain't the wack I got a Lincoln Continental and a sunroof Cadillac So after school, I take a dip in the pool which is really on the wall I got a color TV, so I can see the Knicks play basketball Hear me talkin' 'bout checkbooks, credit cards, more money than a sucker could ever spend But I wouldn't give a sucker or a bum from the rucker, not a dime till I made it again Y'go hotel, motel, whatcha gonna do today? (Say what?) Y'say I'm gonna get a fly
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“Rapper's Delight”-- Sugarhill Gang (1979) Added to the National Registry: 2011 Essay by Eric Reese (Guest Post)*
“Rapper's Delight”-- Sugarhill Gang (1979) Added to the National Registry: 2011 Essay by Eric Reese (guest post)* Sugarhill Gang Original disc Sylvia Robinson Introduction To those who were alive in the late 1970s, the song “Rapper’s Delight” was, upon its release, a sensational, soul-gripping, well-celebrated and well-applauded song. “Rapper's Delight” by the Sugarhill Gang, like every other great song, has enjoyed its fair share of appreciation, recognition and criticisms and indured a few scandals and lawsuits and other disputes typical of many hit songs of that era. The 1970s was an age of continual development in rap music which had begun no less than seven years before. Rap artists struggled to find voice, or even producers, to support their talents or provide a covering for their gifts. That era sank more rap ships than any in history and few nascent rappers had the guts to keep on living through the genre which was slowly coming to be known as hip-hop. The song “Rapper's Delight” itself was termed the pioneer upon which the wide-scale influx of hip-hop to the larger market was built. Not that it was the first rap song released, but it was one of a kind, considering the overall reception to hip-hop music back in the day. Upon its release in 1979, the Sugarhill Gang’s song, produced by Sylvia Robinson, brought the never-heard before freshness of rap with the oddity of blending different rap styles and content into one big blend: hip-hop. Components of “Rapper’s Delight” included dance, sexuality, charisma, buoyance and other themes which went as far as including the spirit and obsessive nature of such singers as James Brown.
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Date: Monday 11 February 2019, 8.30am Contact: Phoebe Gardiner, [email protected] / 020 7921 0967 Alexandra Shaw [email protected] / 020 7921 0676 Southbank Centre announces Nile Rodgers as curator of Meltdown 2019 Nile Rodgers © Britt Loyd Southbank Centre today reveals that the curator of Meltdown festival 2019 will be three-time Grammy Award-winning American composer, producer, arranger, guitarist, Rock and Roll Hall of Fame inductee, Chairman of the Songwriters Hall of Fame and Abbey Road Studios’ first ever Chief Creative Advisor, Nile Rodgers. From 3 - 11 August, Rodgers will take over Southbank Centre with his unique creative vision. Over nine days and across the world-class stages of the Royal Festival Hall, newly reopened brutalist masterpieces the Queen Elizabeth Hall and Purcell Room, and the remainder of Southbank Centre’s 17-acre cultural quarter on the banks of the River Thames, Rodgers will present a hand-picked line-up of show-stopping music, art and free events, in what will undoubtedly be the funkiest festival of the year. Among music legends, Nile Rodgers is truly exceptional. From co-founding slick disco pioneers CHIC with his late creative partner Bernard Edwards, to his own global success as a songwriter and producer, Rodgers has contributed to records that have cumulatively sold more than 500 million albums and 75 million singles worldwide, and has left an indelible signature on the music of today. More than a collaborator, Rodgers has been instrumental in the careers of some of the biggest artists in the history of popular music.
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