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BAM Presents the New York Premiere of Rules of the Game, by Jonah Bokaer, Daniel Arsham, and Pharrell Williams, As Part of a Triple Bill—Nov 10–12
BAM presents the New York premiere of Rules Of The Game, by Jonah Bokaer, Daniel Arsham, and Pharrell Williams, as part of a triple bill—Nov 10–12 Bloomberg Philanthropies is the Season Sponsor Rules Of The Game Jonah Bokaer and Daniel Arsham With an original score by Pharrell Williams Arranged and co-composed by David Campbell BAM Howard Gilman Opera House (30 Lafayette Ave) Nov 10–12 at 7:30pm Tickets start at $25 RECESS (2010) Choreography and performance by Jonah Bokaer Scenography by Daniel Arsham Music by Stavros Gasparatos Lighting design by Aaron Copp Costumes by Richard Chai Why Patterns (2011) Choreography and direction by Jonah Bokaer Scenography by Snarkitecture (Daniel Arsham and Alex Mustonen) Music by Morton Feldman and Alexis Georgopoulos/ARP Lighting design by Aaron Copp Costumes by Richard Chai Rules Of The Game (2016) Choreography and direction by Jonah Bokaer Scenography by Daniel Arsham Original score by Pharrell Williams Arranged and conducted by David Campbell Exclusive recording by the Dallas Symphony Orchestra Lighting design by Aaron Copp Costumes by Chris Stamp/STAMPD Talk: Dance as Visual Art With Jonah Bokaer in conversation with Jenny Schlenzka, Associate Curator at MoMA PS1 Nov 11 at 6pm BAM Fisher Hillman Studio Tickets: $25 ($12.50 for BAM Members) Master Class: Jonah Bokaer Co-presented by BAM and Mark Morris Dance Group Nov 5 at 4:30pm, Mark Morris Dance Center (3 Lafayette Ave) Price: $30 For dancers of all levels Visit BAM.org/master-classes for more information and to register Oct 11, 2016/Brooklyn, NY—Rules Of The Game—the centerpiece of a triple bill of New York City premieres—is a new multidisciplinary work created by choreographer Jonah Bokaer, visual artist Daniel Arsham, and composer Pharrell Williams. -
Pharrell Williams Discography Torrent
1 / 2 Pharrell Williams Discography Torrent Cocker, Mirwais, Michael Stipes, Pharell Williams - among others.. Torrent Pharrell Williams Discography 320 search in title ... Verified Torrents Download like .... I hope your fire, fire burns baby I hope you lay down in your sleep … Studio Discography [ - ] [ALAC] 10 torrent download locations. Uh yo, yo, I wish today it will .... ... Cornel West, Pharrell Williams, Swizz Beatz. Time Is Illmatic is a feature length documentary film that delves deep into the making of Nas' 1994 debut album, .... notorious b i g discography torrent gordon jenkins discography ... hank williams discography 1952 aum discography ... pharell discography planet of sound .... Im Dat Nigga ft B. Jhene Aiko Unreleased Album Download Jhene Aiko Unreleased Album ... BY PHARRELL WILLIAMS] 3. ... Mp3 ” 320kbps flexyjam cdq itunes Fakaza download datafilehost Descarger torrent zippyshare download Song. 2 days ago · Complete discography, ratings, reviews and more. Junior Boys ... Come and experience your torrent treasure chest right here. Uploaded ... Ying Yang Twins & Pharrell Williams) Stop F***in Wit Me (Lil Jon & The East Side Boyz) 2.. Album Title: "The Lounge Awakens: Richard Cheese & Lounge Against The Machine Live At The ... 02 GET LUCKY (originally by Daft Punk & Pharrell Williams). pharrell williams discography. Pharrell Williams Discography Torrent »»» DOWNLOAD. Pharrell Williams)' and 'I'm Better (feat. Lamb)', among countless others.. Calvin Harris "Happy" by Pharrell Williams "First Date" by Blink 182 "On Top of ... The group's last album, their long awaited return Q Mike Slim Daron, came out .... T.I. & Pharrell); Blurred Lines (Deluxe Version) · 2013 ... The album also marked the beginning of his relationship with Pharrell Williams, who gave Thicke a .. -
New Vision. New Ideas. New Hope
NEW VISION. NEW IDEAS. NEW HOPE. 50Pases of People andiapasThat WiUOMrigeOur Lives.Witha , Ways to KeynoteEssay by PRESIDENT BILLCUNTON $3.00 #28... W^ffl esquire.com More Naomi Watts* [ THE CHEF ] You want comfortfood?PSlfi Liebrandt is not your man. You Andbringabbndrold THE IMPRESARIOS There'sa43 percent chanceyou'relis- teningto a song from the NeptUPIGS right now The pair producesevery- onefromNoDoubtto MaryJ.Blige— andmakestiiemsparkle. THE INGREDIENTS—lime blos• soms from Nice, ham from a Dover Sole with Vanilla INTERVIEW NUMBER ONE with Pharrell Williams of ace Spanish pig fed exclusively on andBlackTruffie pop-and-rap production duo the Neptunes is canceled be• acorns—are odd enough. The By Psul Liebrandt fusion of those ingredients— cause he is having a house party. Interview two lasts approxi• eel with watermelon, scallops 24 oz Doversole mately ninety seconds, after which Williams says he has to go with chocolate—is still more (depending on size, get some chicken and will call back from the road. peculiar. But that's not even either 2 small fillets or The return call comes two days later. This is interview three, the end of it. That's not even to 1 large fillet) mention the bizarre ways chef 2 cups duck fat and it lasts all of seventy-five seconds, ending with "Hold on one Paul Liebrandt's bizarre food salt and pepper second" and a promise to call right back. Interview four is quite has been served. Diners have 2 tbsp sherry vinegar been blindfolded, fed dessert spectacular: "I want to do this fucking interview," he says. -
CBL Changes School Structure
aw rint May/June 2018 Volume 17, Issue 3 Pharmacy CBL changes school structure BY HOPE ROGERS deserts Staff Writer abound For over a century, American students take seven classes per school systems have run on the year and spend at least 120 hours BY JONATHAN ZHANAY basis of strict time allotments; in each class. Staff Writer right now in Illinois, a student Payton social studies teacher The closing of pharmacies must spend approximately 180 Joshua Wiggins pointed out that in many low-income neighbor- days in school, and a Chicago CBL “requires teachers to facili- hoods throughout Chicago is Public Schools student is required tate learning rather than dictate having a detrimental effect on to spend seven or more hours at learning.” CBL in theory trans- people who rely on medical ser- school on most days. This struc- forms the classroom environment vices from their local pharma- ture may soon change because of so that students are more aware of cies. Illinois’ decision to test out a new the expectations set for them and The recent closings of CVS curriculum style called Competen- they have space for individualized stores, the most common phar- cy-Based Learning (CBL). learning. Photo by Michael Haran macy brand in Chicago, are Payton was one of several Payton administration does not Classes will be reimagined to prioritize function over form. Will Pay- making even affordable medi- schools in the state — and one of expect to fully implement CBL ton need traditional textbooks? cation far less accessible, and only six Chicago Public Schools, programming until the fall of revisions to be able to prove com- students arriving or leaving school as both retail and independent as of the initial stage of the pilot 2019 or 2020, but CBL coordina- petency in the long term. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Neuronal Dynamics of Grapheme-Color Synesthesia A
Neuronal Dynamics of Grapheme-Color Synesthesia A Thesis Presented to The Interdivisional Committee for Biology and Psychology Reed College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts Christian Joseph Graulty May 2015 Approved for the Committee (Biology & Psychology) Enriqueta Canseco-Gonzalez Preface This is an ad hoc Biology-Psychology thesis, and consequently the introduction incorporates concepts from both disciplines. It also provides a considerable amount of information on the phenomenon of synesthesia in general. For the reader who would like to focus specifically on the experimental section of this document, I include a “Background Summary” section that should allow anyone to understand the study without needing to read the full introduction. Rather, if you start at section 1.4, findings from previous studies and the overall aim of this research should be fairly straightforward. I do not have synesthesia myself, but I have always been interested in it. Sensory systems are the only portals through which our conscious selves can gain information about the external world. But more and more, neuroscience research shows that our senses are unreliable narrators, merely secondary sources providing us with pre- processed results as opposed to completely raw data. This is a very good thing. It makes our sensory systems more efficient for survival- fast processing is what saves you from being run over or eaten every day. But the minor cost of this efficient processing is that we are doomed to a life of visual illusions and existential crises in which we wonder whether we’re all in The Matrix, or everything is just a dream. -
"Prometheus": Music-Kinetic Art Experiments in the USSR Author(S): Bulat M
Leonardo The Fire of "Prometheus": Music-Kinetic Art Experiments in the USSR Author(s): Bulat M. Galeyev Reviewed work(s): Source: Leonardo, Vol. 21, No. 4 (1988), pp. 383-396 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1578701 . Accessed: 15/03/2012 08:55 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access to Leonardo. http://www.jstor.org The Fire of Prometheus: Music-Kinetic Art Experiments in the USSR Bulat M. Galeyev Abstract-In this article, the authordiscusses the principalSoviet experimentsin music-kinetic art. As can be judged from the available literature, most of these experimentsstill remain 'blank spaces' for Westernreaders. This article testifies to the existence of long-standingtraditions that have inspiredthe Soviet school of music-kinetic art and have contributedto its original features. Perhaps the results have not always been as successful or as extensive as one would want them to be, but the prospects for future developments look promising, if only on the basis of the theoretical foundationsthat were laid in Russia itself in the beginningof this century.To provide a context for his discussionof music-kinetic art consideredin this review,the authorhas included an article (see Appendix)in which he examines the history of the idea of 'seeing music' in Russia in previous centuries. -
Teaching Music Videos
Who am I? • Matt Sheriff • Head of Media and Film Studies at Shenfield High School for 11 years • AS OCR Media Team leader (in the past) • A2 OCR Media Examiner (in the past) Initial worries about the new specification (Teaching Music Videos) • Music Video Set Texts (loss of freedom to choose/flexibility to update case studies) • Loss of coursework percentage + switch to individual coursework • Choosing the right set texts • Student and Teacher knowledge of chosen music videos • Compulsory theorists (Eduqas) • Loss of student creativity and enjoyment Starting Point Using what I know as a means to teach NEA The Basics • The artist is the main subject “star” of the music video. • Videos are used to promote artists- their music and fan base. This increases sales and their individual profile. • Can usually clearly show the development of the artist. • Artists are given most screen time. Focus is on the use of close-ups and long takes on the artist. • Artists typically have a way that they are represented • A performance element of the video needs to be present, as well as a storyline, in order for the audience to watch over and over again. • Artists typically act as both performer and narrator (main subject of music video) to make the sequence feel more authentic. Using the old guard • A music promo video means a short, moving image track shot for the express purpose of accompanying a pre-existing music and usually in order to encourage sales of the music in another format • Music video is used for promotion, • Part of the construction of -
Hot R&B/Hip..Hop Singles & Tracks
MARCH $ ..: BÌIIbOOEÓ' HOT R&B/HIP..HOP SINGLES & TRACKS .. - The most popular singles and tracks, according to radio 1l O Nielsen audience impressions measured by Nielsen Broadcast è' Nielsen O ' w LD Broadcast Data Data Systems, sales data compiled by Nielsen SoundScan SoundScan W O w < from a subset of core R8Badie Hop stores, and LAM W SystemsY panel Z ..a rn playllsts from select nommonnored radio stations ZO , 3 v, ó TITLE 3 Artist á ' o 3 TITLE Artist Q us ry PRODUCER (SONGWRITER) IMPRINT & NUMBER /PROMOTION LABEL á o- F S N PRODUCER (SONGWRITER) IMPRINT & NUMBER /PROMOTION LABEL á á NUMBER 1 4 Weeks At Number 55 52 B R RIGHT O Trine Featuring Ludacris 9 50 K WEST IK :. RTS C BRIDGES, O SLIP N -SLIDE 86395 ATLANTIC 1 1 IN DA CLUB O 50 Cents 1 51 44 SUPERMAN Eminem 44 OR one M 17ONOO ICJACKSONAYOUNG,MELIZONooI f O G UNIT SHAD Y/AFTERMATH 497856 INIERSCOPE KT ,.. 1 .,rirr1K1 :., Su KING I WEB/AFTERMATH ALBUM CUT INIERSCOPE Y 2 2 MISS YOU Aaliyah s 1 59 59 WHAT WE DO O Freeway Featuring Jay -Z & Beanie Sigel 9 47 ' IN) BLACKGROUNITUNIVERSAL ALBUM CUT UMRG e ARTER D GRANTS SCARB000UGHI O ROCA ;FELLA DEE JAM 061816IIDJMG 3 3 3 IGNITION 0 R. Kelly 9 2 53 53 THIS VERY MOMENT K- Ci&JoJo 9 53 ® o JIVE 41065 e .. HOLLYWOOD MCA ALBUM 8 SOUNDTRACK CUT 6 8 HOW YOU GONNA ACT LIKE THAT Tyrese 9 4 CD 61 62 WHAT WOULD YOU DO? The Isley Brothers Featuring Ronald Islay 54 IRDOGS ' JALBUM CUT AMG DREAMWORKS ALBUM CUTINTERSCOPE 5 5 GOSSIP FOLKS O Missy "Misdemeanor" Elliott Featuring Ludacris s 5 55 47 47 X GON' GIVE IT TO YA O DMX s 47 ''II).1 ELLIOTT IM ELLIOTTTMOSLEY .0 BRIDGESFI SMITH,W BLOOM, O THE I, .'I'O FLEKTRA 67356 EEG "...ASS KING) O BL000LINEDEF JAM 163776 IDJMG 6 4 4 ALL I HAVE Jennifer Lopez Featuring LL Cool J 9 4 56 56 56 BREAK YOU OFF O The Roots Featuring Musiq 9 56 II MCPHERSON IJ IOPELM RIDDICNC RICHAROSON.RON G L PETERS WJEEFERYI ' '.1S C.IIT ^ A LITTERA THOMPSON.I HUBBARD,KGRAYK JONES. -
Pharrell Williams
Bowling Green State University ScholarWorks@BGSU Media Company Leader Presentations School of Media and Communication Spring 2018 i am OTHER: Pharrell Williams Renei Jackson Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/mclp Recommended Citation Jackson, Renei, "i am OTHER: Pharrell Williams" (2018). Media Company Leader Presentations. 9. https://scholarworks.bgsu.edu/mclp/9 This Book is brought to you for free and open access by the School of Media and Communication at ScholarWorks@BGSU. It has been accepted for inclusion in Media Company Leader Presentations by an authorized administrator of ScholarWorks@BGSU. i am OTHER Pharrell Williams A Presentation by Renei Jackson Background • Pharrell Lanscilo Williams was born on April 5, 1973 in the city of Virginia Beach, VA • He grew up being “the problem child” at school always making beats on the tables and being sent to detention. • He was born in a predominantly African-American community as a child where he didn’t really fit in because of his mix of inspiration from skaters such as Tony Hawk and Christian Hosoi to renown hip hop artists Dougie Fresh and Slick Rick. • His family later moved to the suburbs where he was surrounded by a primarily White community. Being involved in different environments made him depend on music to connect to other people. Transition into Fame • He first came into fame as a songwriting and production duo, Neptune, with his friend Chad Hugo in the 90s. • They produced hits for artists ranging from Jay-Z to Britney Spears. He produced some artists most well known songs such as Nelly’s “Hot in Herre,” Gwen Stefani’s “Hollaback Girl”, Kelis’ “My Milkshake Brings All the Boys to the Yard,” and Justin Timberlake’s “Senorita.” • In a study done by Complex, during 2003, The Neptunes were responsible for 43% of the songs playing on the radio in the United States. -
The United Eras of Hip-Hop (1984-2008)
qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer The United Eras of Hip-Hop tyuiopasdfghjklzxcvbnmqwertyuiopas Examining the perception of hip-hop over the last quarter century dfghjklzxcvbnmqwertyuiopasdfghjklzx 5/1/2009 cvbnmqwertyuiopasdfghjklzxcvbnmqLawrence Murray wertyuiopasdfghjklzxc vbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqw The United Eras of Hip-Hop ACKNOWLEDGMENTS There are so many people I need to acknowledge. Dr. Kelton Edmonds was my advisor for this project and I appreciate him helping me to study hip- hop. Dr. Susan Jasko was my advisor at California University of Pennsylvania since 2005 and encouraged me to stay in the Honors Program. Dr. Drew McGukin had the initiative to bring me to the Honors Program in the first place. I wanted to acknowledge everybody in the Honors Department (Dr. Ed Chute, Dr. Erin Mountz, Mrs. Kim Orslene, and Dr. Don Lawson). Doing a Red Hot Chili Peppers project in 2008 for Mr. Max Gonano was also very important. I would be remiss if I left out the encouragement of my family and my friends, who kept assuring me things would work out when I was never certain. Hip-Hop: 2009 Page 1 The United Eras of Hip-Hop TABLE OF CONTENTS ACKNOWLEDGMENTS -
The Neptunes Have Oversize Lincoln Navigator
} THENERDM ENTALITY THHY6 AVffiJ AY-XA B*UNCT, LENITT hIglRF UhIKT S'N SYh*CA NM HUSTLTPB HATSF &R T'{H KING OF POP.I T WAS *h,l-Y A MATTERO F TIM€ gHF{3RgT I{K \IIRGII''I[AM E,4CHP R$SLJCTIONT EAM CALI-EDT F{€I \FPTU'XE$P tJTTi{ENRC LIg'\d?SO N'HI OLP Ah{& LKTTF{€IRO WTdg ?RANGgS *UNSS LSOSHS hNT'..IfC; I.,IART"BSY ETHAN BROWN IHARRELL wTLLIAMs HAs rHE EvENING MAppED our "lIsrrN," have been shockingly consistent hitmakers, racking up ahalf- "tonight |!|h" explains, we're gonna hang out with punks, dozen Top ro hits (and loads of Top 4os) in an arenawhererna' I skatersa nd brothers from the hood." He glances down jor players like Sean "Puffy" Combs and legendary hit men such at the freshly painted morel parking lot and climbs into his as Clive Davis often strike out. Moreover. the Neptunes have oversize Lincoln Navigator. "I can t hang with just one group of proved they can savea rtists from themseives,s pinning stalwart people." The z8-year-old producer-musician is the mirror im- stars in new directions. They transformed JayZ'shrstler-by- age of his inclusive social sphere-call it a ghetto-glam-bumpkin numbers "I Just Wanna Love U (Give It z Me)" inro a soulful look faded thrift-store jeans, tattered Rolling Stones baseball sing-along, remixed and rescued the Backstreet Boys' uninspiring cap, VersaceT -shirt and white Prada sneakers.A nd though he u.rth.- "The Call' and converted Mystlfal's clicired boory "rl'i wears a chunky diamond earring in one ear and a cartoonishly "Shake Ya Ass" into a brassv.