Transcript of Firstgroup Plc's Call to Analysts and Investors on the Pre-Close Trading Update for the Financial Year Ending 31
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I'm Gonna Keep Growin'
always bugged off of that like he always [imi tated] two people. I liked the way he freaked that. So on "Gimme The Loot" I really wanted to make people think that it was a different person [rhyming with me]. I just wanted to make a hot joint that sounded like two nig gas-a big nigga and a Iii ' nigga. And I know it worked because niggas asked me like, "Yo , who did you do 'Gimme The Loot' wit'?" So I be like, "Yeah, well, my job is done." I just got it from Slick though. And Redman did it too, but he didn't change his voice. What is the illest line that you ever heard? Damn ... I heard some crazy shit, dog. I would have to pick somethin' from my shit, though. 'Cause I know I done said some of the most illest rhymes, you know what I'm sayin'? But mad niggas said different shit, though. I like that shit [Keith] Murray said [on "Sychosymatic"]: "Yo E, this might be my last album son/'Cause niggas tryin' to play us like crumbs/Nobodys/ I'm a fuck around and murder everybody." I love that line. There's shit that G Rap done said. And Meth [on "Protect Ya Neck"]: "The smoke from the lyrical blunt make me ugh." Shit like that. I look for shit like that in rhymes. Niggas can just come up with that one Iii' piece. Like XXL: You've got the number-one spot on me chang in' the song, we just edited it. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-10-2014 Creating a Potentially Popular Hit Song Susan Noh University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Composition Commons Recommended Citation Noh, Susan, "Creating a Potentially Popular Hit Song" (2014). Senior Theses. 12. https://scholarcommons.sc.edu/senior_theses/12 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. CREATING A POTENTIALLY POPULAR HIT SONG By Susan Noh Submitted in Partial Fulfillment of the Requirements for Graduation with Honors from the South Carolina Honors College May, 2014 Approved: Professor Jim Burns Director of Thesis Jonnifer Cooper Second Reader Steve Lynn, Dean For South Carolina Honors College Acknowledgements I would like to thank Professor Jim Burns for putting up with my eccentricity and allowing me to create what my heart desired. If it had not been for Dr. Kay Banks, I would have been completely lost. Thank you to Jonnifer Cooper for his wisdom and constant support in everything I do. To my parent for giving me the opportunities to take piano and violin lesson for most of my life, they definitely paid off! And lastly, to all my friends and peers who allowed this project to be successful. I would not have accomplished this without everyone. 2 Table of Contents Thesis Summary 4 Introduction 6 General Song Writing 8 Modification 11 Writing “Your Mind” 13 Recording “Your Mind” 16 Audience Survey Response 17 Conclusion 19 Bibliography 21 Appendix 22 3 Thesis Summary From as far back as I can remember I have always loved music. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
How Avid Fans Determine and Value Authenticity in Rap Music
THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ A Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 THE RELEVANCE OF REAL: HOW AVID FANS DETERMINE AND VALUE AUTHENTICITY IN RAP MUSIC _______________ An Abstract of a Thesis Presented to The Faculty of the Department of Sociology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Master’s Degree _______________ By Erian J. Aquil May 2018 ABSTRACT Authenticity in rap music holds historical importance in hip hop culture. Low-income blacks in New York City used rap music to express their feelings about and bring awareness to issues in their communities. Rap music is no longer as closely tied to its origins, but authenticity remains a valuable part of these expressions. Though researchers acknowledge rap music has changed, they use historical markers to identify what is authentic in rap music and rarely investigate how fans understand authenticity today. In-depth interviews with eighteen avid rap fans illustrate new ways fans determine authenticity in rap music. Borrowing from Swidler’s (1986) “cultural tool kit,” this study shows how fans draw from their personal toolkits to determine authenticity. Specifically, fans determine authenticity based on whether they believe an artist is telling stories about personal lived experiences, whether they can relate to an artist’s lyrics, and/or whether an artist shows vulnerability in some way. Conversely, fans consider lyrics inauthentic when a rapper tells exaggerated stories that do not seem plausible. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Summer Camp Song Book
Summer Camp Song Book 05-209-03/2017 TABLE OF CONTENTS Numbers 3 Short Neck Buzzards ..................................................................... 1 18 Wheels .............................................................................................. 2 A A Ram Sam Sam .................................................................................. 2 Ah Ta Ka Ta Nu Va .............................................................................. 3 Alive, Alert, Awake .............................................................................. 3 All You Et-A ........................................................................................... 3 Alligator is My Friend ......................................................................... 4 Aloutte ................................................................................................... 5 Aouettesky ........................................................................................... 5 Animal Fair ........................................................................................... 6 Annabelle ............................................................................................. 6 Ants Go Marching .............................................................................. 6 Around the World ............................................................................... 7 Auntie Monica ..................................................................................... 8 Austrian Went Yodeling ................................................................. -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
Figurative Language in Selected Shawn Mendes Album Song Lyrics
FIGURATIVE LANGUAGE IN SELECTED SHAWN MENDES ALBUM SONG LYRICS SKRIPSI Submitted in Partial Fulfillment of the Requirement for the Degree of Sarjana Pendidikan (S.Pd) English Education Program By: NUR ANNISA SAFIRA 1602050128 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2020 ABSTRACT Nur Annisa Safira : Figurative Language in Selected Shawn Mendes Album Song Lyrics. Faculty of Teacher Training and Education, University of Muhammadiyah Sumatera Utara. Medan 2020 This study deals with the figurative language anlysis in selected Shawn Mendes album song lysrics. The objective of the study is to identify the types of figurative langauge found in selected Shawn Mendes album song lyrics, and analyze the meaning of figurative langauge in selected Shawn Mendes album song lyrics. The researcher uses a descriptive qualitative in this study. The data of research were taken from Shawn Mendes song lyrics in selected Shawn Mendes album, the researcher found several findings of figurative language. There are five types of figure of speech found in this song, there are metaphor, hyperbole, personafication, simile and repetition. The most figurative language that is used in selected Shawn Mendes album song lyrics is hyperbole. Keywords : figurative language, shawn mendes album song lyrics i ACKNOWLEDGEMENTS Assalamu’alaikum Warahmatullahi Wabarakatuh In the name of Allah SWT the most beneficient and the most merciful. Firstly, the researcher would like to express her thanks to Allah SWT for blessing, opportunity, health, inspiration, ideas to complete her research. Bless and peace upon our prophet Muhammad SAW as the figure of good civilization and who had brought human beings from the darkness into the brightness. -
What Adolescent African American Males Say About the Visual Culture That Pervades Popular Music Videos
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 What African American Male Adolescents Say About Music Videos with Implications for Art Education Zerric Clinton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE WHAT AFRICAN AMERICAN MALE ADOLESCENTS SAY ABOUT MUSIC VIDEOS WITH IMPLICATIONS FOR ART EDUCATION BY ZERRIC CLINTON A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree Doctor of Philosophy Degree Awarded: Spring Semester 2010 Copyright © 2010 Zerric Clinton All Rights Reserved The members of the committee approve the dissertation of Zerric Clinton defended on April 1, 2010. ___________________________ Tom Anderson Professor Directing Dissertation ___________________________ Martell Teasley University Representative ___________________________ Pat Villeneuve Committee Member ___________________________ Dave Gussak Committee Member Approved: ______________________________________________________ Dave Gussak, Chair, Department of Art Education _____________________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre, and Dance The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGMENTS I give thanks to Almighty God who has kept me throughout this sometimes arduous phase of my life. I would like to thank all committee members: First, I have to thank my committee chair Dr. Tom Anderson who has kept me on track with his encouragement and unwavering belief that I could do this. Next, I would like to thank committee member Dr. Melanie Davenport who helped me to work through some major logistic issues early on. To Dr. Martell Teasley who has given me insights that only he could throughout this process. -
Young Jeezy FAN TV
Presents YOUNG JEEZY Jay Jenkins (born September 28, 1977), better known by his stage name Young Jeezy, is an American rapper and member of the hip hop group United Streets Dopeboyz of America (USDA) and a former member of Boyz n da Hood. He began his career in 2001 under an independent label and joined Boyz N Da Hood in 2005, the same year his solo major label debut Let's Get The Inspiration followed in 2006, and The Recession It: Thug Motivation 101 was followed in 2008; both albums yielded chart-topping singles. released. Its single "Soul Jeezy has also appeared on numerous other rap and R&B Survivor", which featured singles such as "Say I" by Christina Millian, "I'm So Paid" by Akon, became a top-ten hit Akon, and "Love In This Club" by Usher, the latter being a in the U.S. number one single on the Billboard Hot 100 in 2008. Young Jeezy released his first independent album, Thuggin' Under the Influence (T.U.I.), in 2001 under the name Lil J. It featured artists such as Kinky B, Fidank, and Lil Jon, who also produced some of the tracks. In 2003, Jeezy released (also independently) Come Shop Wit' Me, a two CD set featuring completely new tracks along with some songs from T.U.I. Come Shop Wit' Me sold 50000 copies world wide. In 2004, he signed with Bad Boy Records and joined the Boyz N Da Hood group. Boyz N Da Hood's self-titled album was released on June 21, 2005 and peaked at #5 on the Billboard 200 albums chart. -
How Not to Bomb Your Offer Negotiation
How not to bomb your offer negotiation getpocket.com/explore/item/how-not-to-bomb-your-offer-negotiation So you’ve maneuvered through the initial offer conversation. You’ve lined up counteroffers from other companies. Now it’s time to enter the actual negotiation. Naturally, this is the part where everything goes horribly wrong. But don’t worry. I’m going to turn you into a superhero negotiator. (Or at least an eccentric billionaire negotiator, which is sometimes better?) Seriously though. In this article, we’re going to deep-dive into the negotiating process, and discuss my final 4 rules on how to negotiate a job offer. If you didn’t read my first 6 rules, you can read them here (or you can just skip ’em and keep reading): Right. Let’s start from the top. What does it take to be a good negotiator? Most people think negotiating well is just looking the other person in the eye, appearing confident, and asking for tons of money. But being a good negotiator is a lot more subtle than that. What Good Negotiators Sound Like You probably have a friend or family member who’s infamous for refusing to take no for an answer. The kind of person who will march into a department store and bullheadedly argue with the management until they get a purchase refunded. This person seems like they often get what they want. They make you cringe, but perhaps you should try to be more like them. Rest assured, this person is actually a terrible negotiator.