DOCSLIB.ORG

"" a N ¢ (,' S CRATCHING YOUR WAY to Is Flourishing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
R &B Billboard OCTOBER 16, 1999 ARTISTS & MUSIC Hot Ra p SÌflgIes.. COMPILED FROM A NATIONAL SAMPLE OF RETAIL STORE SALES REPORTS z COLLECTED, COMPILED, AND PROVIDED BY rn o 1- SoundScan® U.K. Scratch DJs ITF Championship cn Eier p, w w = TITLE 1 i ARTIST H á IMPRINT & NUMBER/DISTRIBUTING LABEL "" _ a N ¢ (,' S CRATCHING YOUR WAY TO is flourishing. Turntable sales are THE TOP: Back in the day, pioneer- outstripping those of electric guitars, -- No. 1 a.- I WANT IT ALL WARREN G FEATURING MACK 10 O 1 1 5 ing DJs like Kool Herc, Afrika while this year's Mercury Music (CI (D) (T) G -FUNK 73721 /RESTLESS t 4 weeks at No. 1 Bambaataa, and Grandmaster prize winner -classically trained JIGGA MY N * * ** JAY -Z 2 2 2 7 Flash were able to rock the crowds musician Talvin Singh -counts the (C) (D) (T) ROC -A -FELLA 562201 /IDJMG SIMON SAYS PHAROAHE MONCH 3 3 3 5 with their record selection skills and turntable as one of his instruments. (C) (D) (T) RAWKUS 53567/PRIORITY t turntable dexterity. Now the hip -hop And the U.K. Musicians' Union U -WAY (HOW WE DO IT) YOUNGBLOODZ 4 4 4 11 or scratch DJ -also known as a recently announced it would now ICI (D) IT) (X) GHET -O-VISION /LAFACE 24413/ARISTA t JAMBOREE NAUGHTY BY NATURE FEATURING ZHANE 5 5 5 14 turntablist -is often replaced by a allow DJs to join its ranks. (C) (D) (T) (X) ARISTA 13712 t DAT machine at many live rap shows. capital of Europe, so it's PIMPIN' AIN'T NO ILLUSION UGK FEAT. KOOL ACE & TOO SHORT obvious the Indeed, there are pockets around 6 6 7 5 But turntablists are beginning to U.K. needs to be represented at the the "Planet Hip -Hop" where die- (C) (D) (T) JIVE 42633 U -GOD 1 7 10 4 BIZARRE shed their endangered- species tags, world championships," says Pasha hards are more interested in what (C) (D) (T) WU -TANG 53574/PRIORITY thanks to a growing number of DJ- Kamber, VP of San Francisco -based can be created from the RE. 2000 PUFF DADDY FEATURING HURRICANE G wheels of NEW 1 ® (T) (X) BAD centered clubs and competitions. ITF. Established in 1996, the orga- steel than what comes out of a rap- BOY 79276* /ARISTA t IT'S YOUR THING MERCEDES FEATURING P 10 9 13 MASTER Adding fuel to the fire: The Interna- nization now has 16 chapters operat- per's mouth. In fact, London's Lyri- 09 (C) (D) (T) NO LIMIT 53565 /PRIORITY t LUV AT FIRST SIGHT CHILLDRIN OF DA GHETTO FEAT SOULTRE tional Turntablist Federation (ITF) ing in 12 countries. cal Lounge and the new Bigger and 10 8 6 5 will stage its advancement class Furthermore, adds Kamber, "the Deffer in Birmingham are just two of championships in the U.K. for the Disco Mix Club is based out of Eng- the many British clubs where DJs GREATEST GAINER BOUNCE TO THE OUNCE ^ O.G.C. first time on Oct. 31. land, so it's crucial ground for us." and their art form are lauded and Cs 28 25 8 - .i rte, (T) DUCK DOWN 5349C.PRIORITY t "The U.K. is not considered the DJ It's surprising that turntablism appreciated. TAKE A LICK AKINYELE 12 9 11 5 "Rappers do have huge interna- IC) (D) IT) VOLCANO 34281/JIVE t SATISFY YOU PUFF DADDY FEATURING R. KELLY tional mainstream success," concedes 13 NEW 1 (C) (D) BAD BOY 79283/ARISTA t DJ Onions, owner of Turntablist's MANCHILD SHYHEIM FEATURING TEKITHA 14 NEW 1 World DJ store in Crowthorne. "But (C) (D) (T) WU -TANG 53576 /PRIORITY EGO TRIPPING LT. STITCHIE FEATURING MAD LION the DJs are the true players, using 15 18 27 4 co (X) PRG 0412* /DEH TYME the turntable as an instrument FRONTLINE FACEZ OF DEATH - 14 15 4 16 actually manipulating sounds." (CI (D) SUMTHING ELSE 108 t OUT NOW THE BEATNUTS FEATURING YELLAKLAW "A great deal of people still love 17 13 12 21 WATCH (C) (D) (T) VIOLATOR 1795 /LOUD t DJing, spin on their backs at the GOTTA MAN EVE 18 19 2 - (T) RUFF RYDERS 497085*/INTERSCOPE t LOT OF GANGSTAS DIE FLEXX G. FEAT. KURUPT AND ALKATRAZ 19 16 13 3 WHOLE (C) (D) SHANTY TOWN 1005 /HOLLAND GROUP t AMPED: Not many artists are able to step away from group situations PLAY AROUND LIE CEASE FEAT. LIE KIM, JOE HOOKER & MR. BRISTAL 20 15 16 16 onto the solo scene and score a No. 1 with their first single, especially IC) (D) (T) UNDEAS/ATLANTIC 84482/AG t RHYME MANIA '99 LARGE PROFESSOR AND NEEK THE EXOTIC not in the rap arena. In fact, prior to this issue, only three rap songs have 21 12 18 9 (C) (D) (T) REPLAY 36002 hit No. 1 on Hot R&B Airplay since that radio chart began using Broad- NO PIGEONS SPORTY THIEVZ FEATURING MR. WOODS 22 21 17 18 cast Data Systems (BDS) back in 1992. Q -Tip joins those elite few as (CIO (T) (X) ROC- A- BLOWRUFFHOUSE 79190/CRG t B -BOY DOCUMENT 99 THE HIGH & MIGHTY FEAT. MOS DEF & MAD SKILLZ "Vivrant Thing" (Violator /Def Jam /IDJMG) from the Violator compila- 23 11 14 12 (C) (D) (T) EASTERN CONFERENCE/RAWKUS 53498/PRIORITY t tion album hits No. 1 on that list this issue. UP BLACK MOON 24 45 4 JUMP "Vivrant" fetches an audience of 39.7 million from airplay on 79 R &B - (C) (D) (T) DUCK DOWN 53491 /PRIORITY TEXAS 2000 MR. MIKE stations. The song moves 12 -9 on Hot R & 25 29 21 8 the &B Singles Tracks chart, (C) (DI (T) PRIORITY 53492 t based largely on audience impressions, which constitute 95% of its total THUG ONES HALF-A -MILL FEAT. NOREAGA, MUSALINI AND KOOL G RAP 26 17 8 9 chart points, since there is only 12 -inch vinyl available at retail. Need- (C) (D) (T) PENALTY 7268/TOMMY BOY WHO DAT 27 23 22 27 JT MONEY FEATURING SOLE less to say, Q -Tip couldn't have had a better setup, as "Breathe & Stop," ICI (D) (T) TONY MERCEDES /FREEWORLD 53469/PRIORITY t the first track from his forthcoming album, hits radio the week WILD WEST WILL SMITH FEAT DRU HILL & KOOL MO DEE first of 28 20 20 14 WILD November. His solo debut, "Amplified" (Arista), then hits stores the 23rd (C) (D) OVERBROOK/COLUMBIA 79157/CRG t FREAK WITH ME TEE KEE & DIAMON RAMONE 29 26 19 13 of that month. The other rap songs to hit No. 1 on the airplay list prior to breaking jams, and go mad over sec- (C) (X) DOC HOLLYWOOD 5000 */WHITE LION Q -Tip: ME KNOW Arrested Development's "People Everyday" (Chrysalis/EMI) in ond-hand copies of electro. These are 30 31 23 19 LET CAM'RON 1992, the Notorious B.I.G.'s "Mo Money Mo Problems" (Bad Boy/Arista) the true heads, the children of the ICI (D) (T) UNTERTAINMENT 79170/EPIC t IT'S MINE MOBB DEEP FEATURING NAS in 31 27 30 5 1997, and Lauryn Hill's "Doo Wop (That Thing)" (Ruffhouse /Colum- hip -hop culture," adds Jon Saxon, (T) LOUD /COLUMBIA 79265'/CRG bia) in 1998. ITF's U.K. representative. "Crossing VIVRANT THING 32 25 31 14 0 -TIP over is the flip side of the coin, a way (T) VIOLATOR/DEF JAM 562170* /IDJMG t TRU HOMIES TRU 33 30 29 16 J UST SAY NO: Dancehall is to reggae what hip -hop is to R &B -music of paying the bills. The other side is (C) (D) (T) NO LIMIT 53494/PRIORITY t of the youth culture talking about topics most relevant to it, and in the the love, practicing 24 hours a day in SHOW N PROVE (POWER OF GOD) INSPECTAH DECK 34 NEW 1 purest terms of what its listeners know your room and competing in battles." (T) LOUD 1871* t LIVIN THAT GHETTO LIFE 35 22 26 8 FIFTEEN Over the past few years, several of those songs have charted on the The ITF championships are corn- (C) (DI (T) BIG J 1002 t Hot HOLLA HOLLA JA Rap Singles or Hot R &B Singles & Tracks chart, but sex has always ing to the U.K. at an opportune time: 36 32 28 32 RULE been one of dancehall's main topics. Since many programmers, and lis- the country has some very exciting (M) (T) (X) MURDER INC. /DEF JAM 566959 * /IDJMG t TEAR IT OFF METHOD MAN /REDMAN 31 33 37 6 teners for that matter, are just captured by the rhythms and really don't scratch specialists. "Since the rise of (T) DEF JAM 562330 * /IDJMG t (THIS IS WHAT IT SOUNDS LIKE) BLACK MOON know the meaning of many songs, a couple have gotten away with saying Scratch Perverts, battle DJs have 38 42 44 14 WORLDWIND some pretty racy things. feared the U.K.'s presence," notes (C) (D) (T) DUCK DOWN 53484/PRIORITY t COME GET IT DJ HURRICANE FEAT. RAH RAMPAGE 39 39 32 20 DIGGA, & LORD HAVE MERCY For instance, Mr. Vegas' "Heads High" (Greensleeves) bows at No. 75 DJ Kwikit, the 1997 -98 Ill Skillz (C) (T) (X) OFF LINE fVT SOUNDTRAX 8311 * /TVT t HARD KNOCK LIFE (GHETTO -Z on Hot R &B Singles & Tracks based on audience alone. The song draws Battle DJ. "Now the U.K.
Load more

Recommended publications
  • Album Story | You Mix Me All Up! XDD Summer Love 2011 | TIGER M 2
    Album Available ((Free)) On: http://www.tigerm.net Album Story | You Mix Me All Up! XDD Summer Love 2011 | TIGER M 2 An Introduction (( You Mix Me All Up! XDD Summer Love 2011 )) This album honestly began because of a “mistake” that I made while looking for a song on the hard drive of Rushuna-Haruhi: The Success Machine. (My Hewlett-Packard m7170n Media Center Desktop PC ^_^) Between 2002 when I first began Darton College and 2005 when I departed Darton College and began creating the original music album “It’s Go Time Baby, Your Place Is The Dance Floor!” (prior to “DJ Edition”) I had begun accumulating and ordering music on the family computer. (prior to departing my birth home.) There was a folder that I had named “Dealing With Music” which is where I placed all new music that I put onto the family computer. (Rushuna-Haruhi: The Success Machine is not the home family computer. Keep reading. ^_^) Even music that existed initially only on physical CDs that I had purchased (this was before YouTube or Google if you can imagine it…) – when the music was ripped from CDs and placed onto the computer hard drive – the songs went into this folder inside of their own sub-folder which usually contained the name of the album. thanks to the invention of USB external Hard drives, any computer that I have ever had the pleasure of owning or utilizing has had the ability to have this folder. Rushuna-Haruhi: The Success Machine (my very first computer ever purchased in my name) – was the first of my computers to take on and “inherent” this file folder full of music.
    [Show full text]
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • A Hip-Hop Copying Paradigm for All of Us
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ...............................................
    [Show full text]
  • Language Contact and US-Latin Hip Hop on Youtube
    City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2019 Choutouts: Language Contact and US-Latin Hip Hop on YouTube Matt Garley CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/251 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Choutouts: Language contact and US-Latin hip hop on YouTube Matt Garley This paper presents a corpus-sociolinguistic analysis of lyrics and com- ments from videos for four US-Latinx hip hop songs on YouTube. A ‘post-varieties’ (Seargeant and Tagg 2011) analysis of the diversity and hybridity of linguistic production in the YouTube comments finds the notions of codemeshing and plurilingualism (Canagarajah 2009) useful in characterizing the language practices of the Chicanx community of the Southwestern US, while a focus on the linguistic practices of com- menters on Northeastern ‘core’ artists’ tracks validate the use of named language varieties in examining language attitudes and ideologies as they emerge in commenters’ discussions. Finally, this article advances the sociolinguistics of orthography (Sebba 2007) by examining the social meanings of a vast array of creative and novel orthographic forms, which often blur the supposed lines between language varieties. Keywords: Latinx, hip hop, orthography, codemeshing, language contact, language attitudes, language ideologies, computer-mediated discourse. Choutouts: contacto lingüístico y el hip hop latinx-estadounidense en YouTube. Este estudio presenta un análisis sociolingüístico de letras de canciones y comentarios de cuatro videos de hip hop latinx-esta- dounidenses en YouTube.
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • 4 Drop It Like It's Hot SNOOP DOGG FT
    KW 47/48/2004 Plz LW WoC Title Artist Distribution PP 1 ➔ 1 4 Drop It Like It’s Hot SNOOP DOGG FT. PHARRELL Geffen/UNIVERSAL 1 2 ▲ NEW 0 Hey Now XZIBIT Columbia/SONY MUSIC 2 3 ▲ 5 10 It’s Hot THE BEATNUTS Penalty/IMPORT 3 4 ▲ 7 4 Locked Up AKON Universal/UNIVERSAL 4 5 ▲ 8 2 Sex, Love, Money / Ghetto Rock MOS DEF Geffen/UNIVERSAL 5 6 ➔ 6 10 Find Us THE BEATNUTS FT. AKON Penalty/IMPORT 6 7 ▲ 28 6 The Show METHOD MAN Def Jam/UNIVERSAL 7 8 ▼ 3 6 I Don’t Care THE ROOTS MCA/UNIVERSAL 3 9 ▲ NEW 0 Lose My Breath DESTINYS CHILD Columbia/SONY MUSIC 9 10 ▲ 24 8 Real Gangstaz MOBB DEEP FT. LIL JON Jive/BMG ARIOLA 10 11 ▼ 2 4 I Try TALIB KWELI FT. MARY J. BLIGE Rawkus/UNIVERSAL 2 12 ▲ NEW 0 Boston ED.O.G. & PETE ROCK Fat Beats/IMPORT 12 13 ▼ 9 2 The Grind Date / Shopping Bags DE LA SOUL Sanctuary/BMG ARIOLA 9 14 ▲ 18 8 It’s A Love Thing PETE ROCK FT. C.L. SMOOTH & DENOSH Rapster / Bbe/SSD 6 15 ▲ 21 10 Superior GENTLEMAN Four Music 12 16 ▼ 11 2 Tamale Rmxs MR. VEGAS FT. FAT JOE & FATMAN SCOOP Delicious Vinyl/UNIVERSAL 11 17 ▲ 40 2 Muthaf*cka XZIBIT Columbia/SONY MUSIC 17 18 ▲ 26 10 Friends EP BIZ MARKIE Groove Attack/MM MEDIA 2 19 ▼ 10 6 Break U Off KOOL KEITH FT. KUTMASTA KURT Treshold / Funky Ass/IMPORT 10 20 ▲ NEW 0 Club Etiquette / Built To Last DEFARI FT.
    [Show full text]
  • Marxman Mary Jane Girls Mary Mary Carolyne Mas
    Key - $ = US Number One (1959-date), ✮ UK Million Seller, ➜ Still in Top 75 at this time. A line in red 12 Dec 98 Take Me There (Blackstreet & Mya featuring Mase & Blinky Blink) 7 9 indicates a Number 1, a line in blue indicate a Top 10 hit. 10 Jul 99 Get Ready 32 4 20 Nov 04 Welcome Back/Breathe Stretch Shake 29 2 MARXMAN Total Hits : 8 Total Weeks : 45 Anglo-Irish male rap/vocal/DJ group - Stephen Brown, Hollis Byrne, Oisin Lunny and DJ K One 06 Mar 93 All About Eve 28 4 MASH American male session vocal group - John Bahler, Tom Bahler, Ian Freebairn-Smith and Ron Hicklin 01 May 93 Ship Ahoy 64 1 10 May 80 Theme From M*A*S*H (Suicide Is Painless) 1 12 Total Hits : 2 Total Weeks : 5 Total Hits : 1 Total Weeks : 12 MARY JANE GIRLS American female vocal group, protégées of Rick James, made up of Cheryl Ann Bailey, Candice Ghant, MASH! Joanne McDuffie, Yvette Marine & Kimberley Wuletich although McDuffie was the only singer who Anglo-American male/female vocal group appeared on the records 21 May 94 U Don't Have To Say U Love Me 37 2 21 May 83 Candy Man 60 4 04 Feb 95 Let's Spend The Night Together 66 1 25 Jun 83 All Night Long 13 9 Total Hits : 2 Total Weeks : 3 08 Oct 83 Boys 74 1 18 Feb 95 All Night Long (Remix) 51 1 MASON Dutch male DJ/producer Iason Chronis, born 17/1/80 Total Hits : 4 Total Weeks : 15 27 Jan 07 Perfect (Exceeder) (Mason vs Princess Superstar) 3 16 MARY MARY Total Hits : 1 Total Weeks : 16 American female vocal duo - sisters Erica (born 29/4/72) & Trecina (born 1/5/74) Atkins-Campbell 10 Jun 00 Shackles (Praise You)
    [Show full text]
  • WDAM Radio Presents the Rest of the Story
    WDAM Radio Presents The Rest Of The Story # Artist Title Chart Comments Position/Year 0000 Mr. Announcer & The “Introduction/Station WDAM Radio Singers Identification” 0001 Big Mama Thornton “Hound Dog” #1-R&B/1953 0001A Rufus Thomas "Bear Cat" #3-R&B/1953 0001A_ Charlie Gore & Louis “You Ain't Nothin' But A –/1953 Innes Female Hound Dog” 0001AA Romancers “House Cat” –/1955 0001B Elvis Presley “Hound Dog” #1/1956 0001BA Frank (Dual Trumpet) “New Hound Dog” –/1956 Motley & His Crew 0001C Homer & Jethro “Houn’ Dog (Take 2)” –/1956 0001D Pati Palin “Alley Cat” –/1956 0001E Cliff Johnson “Go ‘Way Hound Dog” –/1958 0002 Gary Lewis & The "Count Me In" #2/1965 Playboys 0002A Little Jonna Jaye "I'll Count You In" –/1965 0003 Joanie Sommers "One Boy" #54/1960 0003A Ritchie Dean "One Girl" –/1960 0004 Angels "My Boyfriend's Back" #1/1963 0004A Bobby Comstock & "Your Boyfriend's Back" #98/1963 The Counts 0004AA Denny Rendell “I’m Back Baby” –/1963 0004B Angels "The Guy With The Black Eye" –/1963 0004C Alice Donut "My Boyfriend's Back" –/1990 adult content 0005 Beatles [with Tony "My Bonnie" #26/1964 Sheridan] 0005A Bonnie Brooks "Bring Back My Beatles (To –/1964 Me)" 0006 Beach Boys "California Girls" #3/1965 0006A Cagle & Klender "Ocean City Girls" –/1985 0006B Thomas & Turpin "Marietta Girls" –/1985 0007 Mike Douglas "The Men In My Little Girl's #8/1965 Life" 0007A Fran Allison "The Girls In My Little Boy's –/1965 Life" 0007B Cousin Fescue "The Hoods In My Little Girl's –/1965 Life" 0008 Dawn "Tie A Yellow Ribbon Round #1/1973 the Ole Oak Tree"
    [Show full text]
  • Songs by Title
    Sound Master Entertainment Songs by Title smedenver.com Title Artist Title Artist #thatPower Will.I.Am & Justin Bieber 1994 Jason Aldean (Come On Ride) The Train Quad City DJ's 1999 Prince (Everything I Do) I Do It For Bryan Adams 1st Of Tha Month Bone Thugs-N-Harmony You 2 Become 1 Spice Girls Bryan Adams 2 Legit 2 Quit MC Hammer (Four) 4 Minutes Madonna & Justin Timberlake 2 Step Unk & Timbaland Unk (Get Up I Feel Like Being A) James Brown 2.Oh Golf Boys Sex Machine 21 Guns Green Day (God Must Have Spent) A N Sync 21 Questions 50 Cent & Nate Dogg Little More Time On You 22 Taylor Swift N Sync 23 Mike Will Made-It & Miley (Hot St) Country Grammar Nelly Cyrus' Wiz Khalifa & Juicy J (I Just) Died In Your Arms Cutting Crew 23 (Exp) Mike Will Made-It & Miley (I Wanna Take) Forever Peter Cetera & Crystal Cyrus' Wiz Khalifa & Juicy J Tonight Bernard 25 Or 6 To 4 Chicago (I've Had) The Time Of My Bill Medley & Jennifer Warnes 3 Britney Spears Life Britney Spears (Oh) Pretty Woman Van Halen 3 A.M. Matchbox Twenty (One) #1 Nelly 3 A.M. Eternal KLF (Rock) Superstar Cypress Hill 3 Way (Exp) Lonely Island & Justin (Shake, Shake, Shake) Shake KC & The Sunshine Band Timberlake & Lady Gaga Your Booty 4 Minutes Madonna & Justin Timberlake (She's) Sexy + 17 Stray Cats & Timbaland (There's Gotta Be) More To Stacie Orrico 4 My People Missy Elliott Life 4 Seasons Of Loneliness Boyz II Men (They Long To Be) Close To Carpenters You 5 O'Clock T-Pain Carpenters 5 1 5 0 Dierks Bentley (This Ain't) No Thinkin Thing Trace Adkins 50 Ways To Say Goodbye Train (You Can Still) Rock In Night Ranger 50's 2 Step Disco Break Party Break America 6 Underground Sneaker Pimps (You Drive Me) Crazy Britney Spears 6th Avenue Heartache Wallflowers (You Want To) Make A Bon Jovi 7 Prince & The New Power Memory Generation 03 Bonnie & Clyde Jay-Z & Beyonce 8 Days Of Christmas Destiny's Child Jay-Z & Beyonce 80's Flashback Mix (John Cha Various 1 Thing Amerie Mix)) 1, 2 Step Ciara & Missy Elliott 9 P.M.
    [Show full text]
  • 1990S Playlist
    1/11/2005 MONTH YEAR TITLE ARTIST Jan 1990 Too Hot Loverboy Jan 1990 Steamy Windows Tina Turner Jan 1990 I Want You Shana Jan 1990 When The Night Comes Joe Cocker Jan 1990 Nothin' To Hide Poco Jan 1990 Kickstart My Heart Motley Crue Jan 1990 I'll Be Good To You Quincy Jones f/ Ray Charles and Chaka Khan Feb 1990 Tender Lover Babyface Feb 1990 If You Leave Me Now Jaya Feb 1990 Was It Nothing At All Michael Damian Feb 1990 I Remember You Skid Row Feb 1990 Woman In Chains Tears For Fears Feb 1990 All Nite Entouch Feb 1990 Opposites Attract Paula Abdul w/ The Wild Pair Feb 1990 Walk On By Sybil Feb 1990 That's What I Like Jive Bunny & The Mastermixers Mar 1990 Summer Rain Belinda Carlisle Mar 1990 I'm Not Satisfied Fine Young Cannibals Mar 1990 Here We Are Gloria Estefan Mar 1990 Escapade Janet Jackson Mar 1990 Too Late To Say Goodbye Richard Marx Mar 1990 Dangerous Roxette Mar 1990 Sometimes She Cries Warrant Mar 1990 Price of Love Bad English Mar 1990 Dirty Deeds Joan Jett Mar 1990 Got To Have Your Love Mantronix Mar 1990 The Deeper The Love Whitesnake Mar 1990 Imagination Xymox Mar 1990 I Go To Extremes Billy Joel Mar 1990 Just A Friend Biz Markie Mar 1990 C'mon And Get My Love D-Mob Mar 1990 Anything I Want Kevin Paige Mar 1990 Black Velvet Alannah Myles Mar 1990 No Myth Michael Penn Mar 1990 Blue Sky Mine Midnight Oil Mar 1990 A Face In The Crowd Tom Petty Mar 1990 Living In Oblivion Anything Box Mar 1990 You're The Only Woman Brat Pack Mar 1990 Sacrifice Elton John Mar 1990 Fly High Michelle Enuff Z'Nuff Mar 1990 House of Broken Love Great White Mar 1990 All My Life Linda Ronstadt (f/ Aaron Neville) Mar 1990 True Blue Love Lou Gramm Mar 1990 Keep It Together Madonna Mar 1990 Hide and Seek Pajama Party Mar 1990 I Wish It Would Rain Down Phil Collins Mar 1990 Love Me For Life Stevie B.
    [Show full text]
  • Gender and Sexuality Representations in Hip Hop Tia C.M
    Teaching Media Quarterly Volume 1 Article 3 Issue 3 Sexuality in Hip Hop Culture 2013 Gender and Sexuality Representations in Hip Hop Tia C.M. Tyree Howard University, [email protected] Follow this and additional works at: http://pubs.lib.umn.edu/tmq Recommended Citation Tyree, Tia C.. "Gender and Sexuality Representations in Hip Hop." Teaching Media Quarterly 1, no. 3 (2013). http://pubs.lib.umn.edu/tmq/vol1/iss3/3 Teaching Media Quarterly is published by the University of Minnesota Libraries Publishing. Tyree: Gender and Sexuality Representations in Hip Hop Gender and Sexuality Representations in Hip Hop Music Teaching Media - Hip Hop Submission Dr. Tia C. M. Tyree March 2013 1. Summary and rationale for assignment When MTV aired in 1981, music videos took the stage in pop culture in a way that they had not prior to the channel’s inception. Since this time, music videos have become a staple in the music industry, and they provide the opportunity for record companies to promote new artists and songs. However, as a key part of pop culture, music videos, more specifically rap videos, have come under criticism, because they increasingly present often negative and controversial representations of women. Further, research shows youth learn about sexuality, gender roles, and relationship from them. As rap music is an international medium that influences how Black women are viewed in the world, it is critical for us to investigate its lyrics and representations. How gender and sex are characterized is a contentious space in Hip Hop. However, the analyses of voice and representation are critical in any mass medium.
    [Show full text]
  • Rap Vocality and the Construction of Identity
    RAP VOCALITY AND THE CONSTRUCTION OF IDENTITY by Alyssa S. Woods A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2009 Doctoral Committee: Associate Professor Nadine M. Hubbs, Chair Professor Marion A. Guck Professor Andrew W. Mead Assistant Professor Lori Brooks Assistant Professor Charles H. Garrett © Alyssa S. Woods __________________________________________ 2009 Acknowledgements This project would not have been possible without the support and encouragement of many people. I would like to thank my advisor, Nadine Hubbs, for guiding me through this process. Her support and mentorship has been invaluable. I would also like to thank my committee members; Charles Garrett, Lori Brooks, and particularly Marion Guck and Andrew Mead for supporting me throughout my entire doctoral degree. I would like to thank my colleagues at the University of Michigan for their friendship and encouragement, particularly Rene Daley, Daniel Stevens, Phil Duker, and Steve Reale. I would like to thank Lori Burns, Murray Dineen, Roxanne Prevost, and John Armstrong for their continued support throughout the years. I owe my sincerest gratitude to my friends who assisted with editorial comments: Karen Huang and Rajiv Bhola. I would also like to thank Lisa Miller for her assistance with musical examples. Thank you to my friends and family in Ottawa who have been a stronghold for me, both during my time in Michigan, as well as upon my return to Ottawa. And finally, I would like to thank my husband Rob for his patience, advice, and encouragement. I would not have completed this without you.
    [Show full text]