DOCSLIB.ORG

Patiently Waiting 50 Cent [Intro: 50 Cent] Hey Em, You Know You're My

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Patiently Waiting 50 Cent [Intro: 50 Cent] Hey Em, You Know You're My Patiently Waiting 50 Cent [Intro: 50 Cent] Hey Em, you know you're my favorite white boy, right? I owe you for this one [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong [Verse 1: 50 Cent] I'm innocent in my head like a baby born dead, destination heaven Sit and politic with passengers from 9/11 The Lord's blessings leave me lyrically inclined Shit, I ain't even got to try to shine God's the seamstress that tailor fitted my pain I got scriptures in my brain, I could spit at your dame Straight out the good book, look, niggas is shook 50 fear no man, warrior, swing swords like Conan Picture me, pen in hand writing lines knowing the Source'll quote it When I die, they'll read this and say a genius wrote it I grew up without my pops, should that make me bitter? I caught cases I copped out, does that make me a quitter? In this white man's world I'm similar to a squirrel Looking for a slut with a nice butt to get a nut If I get shot today my phone'll stop ringing again These industry niggas ain't friends, they know how to pretend [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong [Bridge: Eminem] If you're patiently waiting to make it through all the hating Debating whether or not you can even weather the storm As you lay on the table they operating to save you It's like an angel came to you sent from the heavens above [Verse 2: Eminem] They think they're crazy, but they ain't crazy, let's face it Shit, basically they're just playing sick They ain't shit, they ain't saying shit, spray 'em 50 A to the K, get in the way I'll bring Dre and them with me And turn this day into fucking mayhem, you staying with me? Don't let me lose you, I'm not trying to confuse you When I let loose with this Uzi and just shoot through your Isuzu You get the message? Am I getting through to you? You know what's coming, you motherfuckers don't even know, do you? Take some Big and some Pac and you mix em up in a pot Sprinkle a little Big L on top, what the fuck do you got? You got the realest and illest killers tied up in a knot The juggernauts of this rap shit, like it or not It's like a fight to the top just to see who'd die for the spot You put ya life in this, nothing like surviving a shot Y'all know what time it is, soon as 50 signs on this doc Shit what you know about death threats, cause I get a lot Shady Records was eighty seconds away from the towers Some cowards fucked with the wrong building, they meant to hit ours Better evacuate all children, it's nuclear showers There's nothing spookier You now about to witness the power of fucking 50 [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong [Verse 3: 50 Cent] If the gun squad hearing all the shots go off It's 50, they say it's 50 See a nigga laid out with his fucking top blown off It's 50 - man, that wasn't 50, don't holla my name Niggas shouldn't throw stones if you live in a glass house And if you got a glass jaw you should watch your mouth Cause I'll break your face Have your ass running, mumbling to the jake You going against me, dawg, you making a mistake, I'll split ya Leave ya looking like the Michael Jackson jackets with all them zippers I'm the boss on this boat, you can call me skipper The way I turn the money over you should call me flipper Your bitch a regular bitch, you calling her wifey I fucked and feed her fast food, you keeping her icey I'm down to sell records, but not my soul Snoop said this in '94: ''we don't love them hoes'' I got pennies for my thoughts, now I'm rich See the twenties spinning looking mean on the six Niggas wearing flags cause the colors match they clothes They get caught in the wrong hood and filled up with holes, motherfucker [Hook: 50 Cent] I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong I been patiently waiting for a track to explode on You can stunt if you want and your ass'll get rolled on If it feels like my flow's been hot for so long If you thinking I'mma fuckin' fall off, you're so wrong "Many Men" [Intro:] Ayo! I'm the king of this muthafucka! I'm the King Of Detroit! You do what I say what I say nigga! You don't say it: "We gonna smoke this nigga, Proof'! " Fuck that! You shoot that nigga, right there, get that nigga! King Of Detroit, nigga! [9 shots] Whattup now fool? Whattup now nigga? ! [beat starts playin' 50Cent's: "Many Men (Wish Death)".] [Hook:] Many men! - Wish death upon P! It's hard to survive in the 313. I'm trying to be what I'm destined to be, And niggas tryna take my life away. (c'mon! c'mon! c'mon!) I put a hole in a nigga for fuckin' with' me, He ain't come dollo face in 1-E. Watch what you say when you talk about me, Cause I come and take your life away! [Bridge 1:] Many men! Many, many, many, many men! [gun cocks] Wish death upon me. Dog I don't cry no more, Don't look to the sky no more. Have mercy on me. [Verse 1:] Man these pussy niggas put money on head, Gonna get your refund, 'cause motha fucka I ain't dead. I'm the "Dozen" in the "Dirt"! - That ain't been found. The real king of the D, shiiit! That ain't been crowned. When I'm on - something special happens every time. I'm the dopest! - Something like Roy Jones in his prime. I walk the planks of the jungle, got a problem then fuck you. Show you what my gun do, if you whack and unhumble. Be for real, punk niggas! - Your new to the beef, Ask any playa in the 'D'! - Your new to the streets! Y'all ain't from 7 Mile! And y'all ain't wound! Fuck a bone! When you hear that CLICK - answer! [shot] [Chorus 1:] Many men, many many many many men wish death upon me. Dog I don't cry no more, Don't look to the sky no more. Have mercy on me! Have mercy on my soul! Somewhere my heart turned cold! Have mercy on many men! Many many many many men. - Wish death upon me! [Verse 2:] Now there wouldn't be real, if it wasn't for no heart. If there wasn't 8 Mile, there wouldn't be O Port. Death gotta be easy, 'cause life is hard. Murk you in afterlife and see twice the God. This is for my niggas on the yo! - Doin' there time. The real murkers in Detroit, that shine on the ground. I heard about that little hit - that you put in the hood. But your shoot-if-you-get-shot ain't gonna do no good. I'm like MG for Shady! - You can call me 'the Don'! If you Micheal mothafucka, you gonna die in the storm. Can't switch sides hommie! - Let cash ride homie! Thought we was cool, why you want me to die homie? [Chorus 1] [Verse 3:] You know how many mothafuckas wanna hear your bone break? PA, 7 Mile, FA's on May. School Craft, LA Mack and Bwick, CCs, Runyon Ave. That's who 'P' with. The cops don't know much, where I tuck my Glock. I got the word from E-Dog when Stuck got locked. Ain't gunna spell it out for you muthafuckas on the grind! Are you blind nigga? - Can't read between the lines? From Cameon! - Rico Shocka and G-Low.
Load more

Recommended publications
  • By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
    A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
    [Show full text]
  • Lisa DEL SOL Columbia University
    7 Race Relations and Conversations as Hip-Hop Calls Out Anime In TweRk by Latasha N. Nevada Diggs Lisa DEL SOL Columbia University The poetry of Latasha N. Nevada Diggs (2013) moves beyond the conventional boundaries separating music and text within traditional Western literature in her book TweRk. By both actively connecting and fusing music and text into this body of work she creates a text with a sonic element that moves beyond the boundaries of the page. Diggs (2013) further complicates the relationship between text, sound and visual media in her poetry which is a fusion of pop culture, rhythm, African American Vernacular English (AAVE) and a multitude of languages (including various Caribbean Patois) making it difficult to categorize her poetry due to its polyphonic nature. Diggs’s (2013) poetry ranges from references and direct quotes from hip-hop songs (such as titles and lyrics), as well as alluding to particular rhythms all while addressing stereotypes of sexism and combatting worldwide images of anti-blackness. I will discuss sound and its relationship to poetry, the role of pop culture in the text, and its interactions with misogynoir.1 Using Edouard Glissant’s terminology for language and culture in the Caribbean being an amalgamation of sorts, what he called Antillanité2 and viewing Diggs’s (2013) representation of Blackness through a multicultural lens disrupts the monolithic narrative of Black identity. She invokes a pluralistic perspective on language with her use of Japanese, English and AAVE in the same poem. She also examines the duality of Black identity, what WEB DuBois referred to as double consciousness (DuBois 1961, 3) and alienation exemplifying the “twoness” the “two souls, two thoughts and two unreconciled strivings; two warring ideals in one dark body” (DuBois 1961, 3).
    [Show full text]
  • 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.
    [Show full text]
  • Judgment for Copyright Infringement and Permanent Injunction with the 16 Consent and on the Advice of Such Independent Legal Counsel
    UMG Recordings, Inc. v. BCD Music Group, Inc. et al Doc. 199 1 JEFFREY D. GOLDMAN (SBN 155589) [email protected] 2 ROBERT J. CATALANO (SBN 240654) [email protected] 3 LOEB & LOEB LLP 10100 Santa Monica Boulevard, Suite 2200 4 Los Angeles, California 90067-4120 Tel: 310-282-2000/Fax: 310-282-2200 5 Attorneys for Plaintiff JS-6 6 7 8 UNITED STATES DISTRICT 9 CENTRAL DISTRICT OF CALIFORNIA 10 UMG RECORDINGS, INC., a Case No. CV 07-05808 SJO (FFMx) 11 Delaware corporation Assigned to the Hon. S. James Otero 12 Plaintiff, JUDGMENT FOR COPYRIGHT 13 v. INFRINGEMENT AND PERMANENT INJUNCTION 14 BCD MUSIC GROUP, INC., a Texas corporation; and DOES 1-10, inclusive 15 Defendants. 16 17 18 19 20 21 22 23 24 25 26 27 28 LA1837611.1 JUDGMENT AND PERMANENT INJUNCTION 212374-10008 Dockets.Justia.com Based on the stipulation by and between plaintiff UMG Recordings, Inc., a 1 Delaware corporation (“UMG”), and BCD Music Group, Inc., a Texas corporation 2 (“BCD”), and for good cause appearing, 3 4 IT IS ORDERED, ADJUDGED, AND DECREED THAT: 5 6 1. BCD infringed UMG’s copyrights in the following forty-three (43) 7 sound recordings (the “43 Sound Recordings”): 8 9 1. “War with God” (Ludacris) from the album Release Therapy. 10 2. “My House” (Lloyd Banks). 3. “Over and Over” (Nelly) from the album Suit. 11 4. “3 Kings” (Slim Thug). 12 5. “Say I” (Christina Milian). 6. “Bang Bang” (Young Buck), from the album Straight Outta 13 Cashville. 14 7. “Diamonds” (Fabolous). 8.
    [Show full text]
  • Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
    MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G.
    [Show full text]
  • United States District Court Southern District of New
    Case 1:09-cv-05583-JFK-GWG Document 150 Filed 03/24/14 Page 1 of 51 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -----------------------------------X CURTIS JAMES JACKSON, III, p/k/a : 50 CENT, TOMORROW TODAY : ENTERTAINMENT, INC., and G-UNIT : RECORDS, INC., : : Plaintiffs, : : No. 09 Civ. 5583 (JFK) -against- : : OPINION & ORDER LEE Q. ODENAT, a/k/a “Q,” d/b/a : WWW.WORLDSTARHIPHOP.COM, WORLDSTAR : HIP HOP, INC., WORLDSTAR, LLC, : WSHH337, LLC, JOHN DOE LLC(S)/ : CORPORATION(S), : : Defendants. : : ---------------------------------- : LEE Q. ODENAT, a/k/a “Q,” d/b/a : WWW.WORLDSTARHIPHOP.COM, : : Third-Party Plaintiff, : : -against- : : YVES MONDESIR, : : Third-Party Defendant. : -----------------------------------X APPEARANCES For Plaintiffs Curtis James Jackson, III, Tomorrow Today Entertainment, Inc., and G-Unit Records, Inc.: MORITT HOCK HAMROFF & HOROWITZ LLP By: Michael Cardello, III GRAYROBINSON, P.A. By: Karen L. Stetson Case 1:09-cv-05583-JFK-GWG Document 150 Filed 03/24/14 Page 2 of 51 For Defendants Worldstar Hip Hop, Inc., Worldstar, LLC, WSHH337, LLC, and Defendant/Third-Party Plaintiff Lee Odenat: ZARIN & ASSOCIATES P.C. By: Scott Zarin, Esq. For Third-Party Defendant Yves Mondesir: FAZZIO LAW OFFICES By: John P. Fazzio Katherine Braver JOHN F. KEENAN, United States District Judge: This action arises from Defendant Lee Odenat’s allegedly unauthorized use of Plaintiff Curtis Jackson’s likeness and intellectual property as well as the intellectual property of Plaintiffs Tomorrow Today Entertainment, Inc. (“Tomorrow Today Entertainment”) and G-Unit Records, Inc. (“G-Unit Records”) on Odenat’s website, www.worldstarhiphop.com. Odenat has brought third-party claims against Third-Party Defendant Yves Mondesir, alleging that Mondesir held himself out to be Jackson’s agent and authorized Odenat’s use of Jackson’s likeness and Plaintiffs’ intellectual property.
    [Show full text]
  • Five Star Transcript
    Five Star Transcript Timecode Character Dialogue/Description Explanation INT: Car, Night 01:00:30:00 Primo March 24th, 2008, a little boy was born. 01:00:40:00 Sincere Israel Najir Grant, my son. 01:01:00:00 That's my son. 01:01:01:00 You know where I was? Nah, not the hospital bed. 01:01:10:00 Nah not in the waiting room. 01:01:13:00 I was locked the fuck up. 01:01:23:00 Remember gettin' that call, putting the call in I should say. Had a beautiful baby boy, and I wasn't there to greet him when he 01:01:33:00 came into the world. 01:01:36:00 And, um, it's funny. 01:01:40:00 I was released the week after. 01:01:43:00 April 1st, my Pop's birthday. Dialogue Transcript Five Star a film by Keith Miller 1 Five Star Transcript Timecode Character Dialogue/Description Explanation 01:01:48:00 Came home on April Fool's Day, dig that. I remember walking in, into the P's*. Everybody yo Primo, Primo oh, 01:01:56:00 * P’s = projects/housing project shit. 01:02:03:00 Fuck y'all. I want to see my son. 01:02:06:00 Walked up the stairs, I was nervous. 01:02:14:00 Haven't seen my daughter in so long. Open the door, everybody greeting me. Oh welcome home! Welcome 01:02:20:00 home! Yeah it's nice, that that that was sweet. Move! I want to see my son.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • Front Jasn 17
    Chester boy recovering from head injury Page 5 Inside This Issue Local gun sales .............. Pg. 3 CC Sparta on residency ....... Pg. 6 COUNTY JOURNAL 40 Years for Graham ...... Pg. 8 JJ Serving Randolph, Perry And Jackson Counties Since 1980 Beattie reviews status .... Pg. 11 Champion tree .............. Pg. 13 Local sports ........... Pgs. 14-16 © Copyright 2013, County Journal www.countyjournalnews.com Volume 34 Number 3 24 Pages Your Local News Leader Thursday, January 17, 2013 60¢ Coal pensioners urged to rally for insurance Potential Patriot bankruptcy threat By Jeff Blair years and promised to the em- Hundreds filled the Knights of ployees. Columbus hall in Pinckneyville Many retirees argue that they January 10 for a special meeting have health issues related to the of the United Mine Workers of work they did in the coal mines, America retirees. and they must take medications, The meeting was called to up- some of which are very expensive. date the retirees about Peabody, They note that if they lose their Arch and Patriot coal companies UMWA health care benefits, they on the status of a Chapter 11 will not be able to afford those bankruptcy filing by Patriot Coal. medications. Steve Earle, international vice Since its surge in 2008, Patriot president for UMWA District 12 has seen its stock, and the num- headquartered in Madisonville, ber of mines it is operating, fall Kentucky, called it a very serious dramatically. situation in regard to the pension There have been 19 mines idled, and health care benefits for retir- and the company’s stock has ees.
    [Show full text]
  • Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience
    FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive.
    [Show full text]
  • 8123 Songs, 21 Days, 63.83 GB
    Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.
    [Show full text]
  • Race, Technology, and Theology in the Emergence of Christian Rap Music
    Pneuma 33 (2011) 200-217 brill.nl/pneu “It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music Josef Sorett Assistant Professor of Religion and African-American Studies, Columbia University, New York [email protected] Abstract In an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narra- tives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pentecostalism were central to Wiley’s understanding of the significance of racial ideology and technology in his rap ministry. Additionally, Wiley’s story helps to iden- tify a theological, cultural, and technological terrain that is shared, if contested, by mainline Protestant, neo-Pentecostal, and Word of Faith Christians during a historical moment that has been described as post-denominational. Keywords Christian hip hop, Stephen Wiley, Word of Faith, racial ideology Over the past two decades a growing body of research on hip hop music and culture has taken shape. More often than not, the inquiries in this emerging literature have located hip hop (or rap) in the traditions of African American cultural (literary and musical) expression.1 Within this corpus, little attention 1 The two seminal works in the field of hip hop studies are Tricia Rose’sBlack Noise: Rap Music and Black Culture in Contemporary America (Middletown, CT: Wesleyan Press, 1993); Houston Baker’s Black Studies, Rap, and the Academy (Chicago: University of Chicago Press, 1993).
    [Show full text]