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Teriyaki Boyz Zock
Zock On! Teriyaki Boyz You want that ? She want that ? They want that ? Who want that ? Come get a little bit of this and a little bit of That if you want a bit of this nara AH AH Iitakute, ienakute, iisakusen, mitsu kannakute Come get a litle bit of this and a little bit of That if you want a bit of this nara AH AH RYO-Z ... Yatta ! WISE ... AH YEAH~ LEADER ... Stand by VERBAL ... What it do ? Yep yep NIGO ... Yo, what's up ? BAPE SOUNDS ... Oink oink Yo Pharell ... Busta Bust ... OH ! Let's go ! (Busta Rhymes) Baby go and shake your ass, heal and toe Break your back, mami you feel that flow How a spit that real and low I dont trick, you better peel that dough Jay said, you aint gotta bring your purse out Yes you do, or you aint drinking with a (oww) Hot step with a in the club While a shorty get rocked with me until a bub The way the party scare a when they bust a slug We aint worried bout it shorty, love a like a drug Baby girl tryin to throw a sex Geeked out, mami trying to do a lil x Look at you, baby get low down with it However you want, see if you can throw down with me Bust Rhymes, baby yea, eyerybody know When its time to pop off, yea we gotta go (HOOK) Yabamena Baby (gi-giganto) zock on zock on (gi-giganto) Kawaii Baby (gi-giganto) zock on zock on (gi-giganto) Mo-dai mondai (gi-giganto) zock on zock on (gi-gi-gi-giganto) Yabamena Baby (gi-giganto) zock on zock on (gi-giganto) Yabamena baby yabamena bureikubiitsu Konya ga yama nara rabadabu entorii Tekunikku hitsuyou to araba tekunikusu Kui kimi ni cut kuikku ririisu Ano ko -
A Multi-Dimensional Study of the Emotion in Current Japanese Popular Music
Acoust. Sci. & Tech. 34, 3 (2013) #2013 The Acoustical Society of Japan PAPER A multi-dimensional study of the emotion in current Japanese popular music Ryo Yonedaà and Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology, 7–1 Ohgigaoka, Nonoich, 921–8501 Japan ( Received 22 March 2012, Accepted for publication 5 September 2012 ) Abstract: Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity.’’ In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity,’’ again. The results of multiple-regression analyses suggested that the listeners like to listen to a ‘‘beautiful’’ tune with their lovers and a ‘‘powerful’’ and ‘‘active’’ tune in a situation where people were around them. Keywords: Musical emotion, Popular music, J-POP, Semantic differential method, Factor analysis PACS number: 43.75.Cd [doi:10.1250/ast.34.166] ‘‘activity’’ [3]. -
To What Extent Is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences?
International Journal of English Linguistics; Vol. 3, No. 5; 2013 ISSN 1923-869X E-ISSN 1923-8703 Published by Canadian Center of Science and Education Musical Cultures: To What Extent is the Language Used in the Song Lyrics of Hip-Hop and Country Music Reflective of and Shaped by Cultural Beliefs and Experiences? Dwayne Engh1 1 English Department, Tudor BEC College London, U.K. Correspondence: Dwayne Engh (Received Masters in English Language Teaching and Applied Linguistics, King’s College London, 2010), St. Peter’s Vicarage, 53 Belsize Square, London, U.K. E-mail: [email protected] Received: August 31, 2013 Accepted: September 16, 2013 Online Published: September 23, 2013 doi:10.5539/ijel.v3n5p78 URL: http://dx.doi.org/10.5539/ijel.v3n5p78 Abstract Hip-Hop and Country musicians concurrently create culture while being affected by the specific subculture of their sociolects and communities. Within these specific speech communities, language is a vital part of constructing reality; of showing class values; and of defining who is ‘in’ and who is not - often in terms of being in opposition to and standing apart from mainstream society. Inclusion in the Hip-Hop and Country subcultures indicates a delineating boundary of authenticity, which clearly suggests that there are others who are therefore not ‘authentic’ and must be excluded. Members view their group as separate and work to maintain the boundary from the other, from the majority. In the sociolinguistic exploration of Hip-Hop and Country communities, there are five major themes that will be considered: Legitimacy, Commodification & Globalization, Boundary Margins, Sexuality, and Rebellion – giving prominence to the social context of language use rather than to purely lexical considerations within the two communities. -
LIL SCRAPPY 4TH ANNUAL OZONE AWARDS PATIENTLY WAITING & TJ’S DJ’S RECAP SPECIAL EDITION
OZONE MAGAZINE ISSUE #50: YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE LUDA!GETS PERSONAL 1st ANNUAL RUNNIN’ CRE OZONE AWARDS LIL SCRAPPY &TJ’S DJ’s DIT CHECKS WITH NO SHAME NOW SWISHAHOUSE: RECAP: PAUL WALL with UGK / LIL WAYNE MICHAEL WATTS TRINA / DAVID BANNER LIL KEKE & MORE LUDACRIS / SHAWNNA 8BALL & MJG / PITBULL YUNG JOC / RICK ROSS WEBBIE / CRIME MOB TRAE / TRICK DADDY YOUNG JEEZY / PLIES T-PAIN / PAUL WALL JACKI-O / LIL BOOSIE COOL & DRE / KHIA YOUNG DRO / B.G. & MANY MORE PLUS: CHARLAMAGNE THA GOD’S “WHY IT SUCKS TO BE DIDDY” OCTOBER 2006 ISSUE # 4TH ANNUAL PATIENTLY WAITING SPECIAL EDITION 50 ISSUE #50: YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE SWISHA THEHOUSE: NEW GENERATION LUDACRIS LIL SCRAPPY 4TH ANNUAL OZONE AWARDS PATIENTLY WAITING & TJ’s DJ’s RECAP SPECIAL EDITION 10 oct06contents PUBLISHER/EDITOR-IN-CHIEF: Julia Beverly MUSIC EDITOR: Maurice G. Garland ASSOCIATE EDITOR: Matt Sonzala ADVERTISING SALES: COVER STORIES Che’ Johnson (Gotta Boogie) Greg G Ludacris pg 52-54 PROMOTIONS DIRECTOR: Malik “Copafeel” Abdul SwishaHouse pg 46-50 MARKETING DIRECTOR: David Muhammad LEGAL CONSULTANT: Kyle P. King, P.A. (King Law Firm) SUBSCRIPTIONS MANAGER: Destine Cajuste ADMINISTRATIVE: Cordice Gardner Nikki Kancey Tana Hergenraeder CONTRIBUTORS: ADG, Amanda Diva, Bogan, Carlton Wade, Charlamagne the God, Charles Parsons, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica Koslow, J Lash, Jason Cordes, Jo Jo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, K.G. Mosley, Killer Mike, King Yella, Lamar Lawshe, Lisa Coleman, Marcus DeWayne, Mercedes (Strictly Streets), Ms. Rivercity, Natalia Gomez, Ray Tamarra, Rico Da Crook, Robert Gabriel, Rohit Loomba, Shannon McCollum, Spiff, Swift, Wally Sparks, Wendy Day STREET REPS: Al-My-T, B-Lord, Big Teach (Big Mouth), Bigg C, Bigg V, Black, Brian Franklin, Buggah D. -
Quantitative Analysis of Phonological Variation in Korean Hip-Hop English Lyrics
IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS A Thesis Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Science in Linguistics By Jinsok Lee, B.A. Washington, D.C. April, 2009 Copyright 2009 by Jinsok Lee All Rights Reserved ii IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS Jinsok Lee, B.A. Thesis Advisor: Natalie Schilling, Ph.D. ABSTRACT This paper extends the sociolinguistic investigation of Hip-Hop language and its performative usage more generally by examining English in the lyrics of three Korean Hip-Hop groups: Dynamic Duo, Epik High, and Drunken Tiger. This paper examines overall occurrence of English as well as the extent to which their English incorporates features associated with African American Vernacular English (AAVE). Alim (2002) argues that American Hip-Hop artists connect their lyrics to street culture by using features of AAVE such as copula absence however, in this study of Korean Hip-Hop lyrics, instead of focusing on syntactic features, phonological features are to be studied mainly. The use of English in Korean Hip-Hop songs varies from lexical items (e.g. Nwun tteponi yesterday swucwupten kuttay. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006) to a sentences (When My body turns cold, you will know, I remapped the human soul. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006), and sometimes, but not for all the artists, a whole paragraph. -
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft. -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
Neuroimaging Studies on Familiarity of Music in Children with Autism Spectrum Disorder
Neuroimaging Studies on Familiarity of Music in Children with Autism Spectrum Disorder by Carina Patricia De Barros Freitas A thesis submitted in conformity with the requirements for the degree of Degree of Philosophy Institute of Medical Science University of Toronto © Copyright by Carina Patricia De Barros Freitas 2020 Neuroimaging Studies on Familiarity of Music in Children with Autism Spectrum Disorder Carina Patricia De Barros Freitas Doctor of Philosophy Institute of Medical Science University of Toronto 2020 Abstract The field of music neuroscience allows us to use music to investigate human cognition in vivo. Examining how brain processes familiar and unfamiliar music can elucidate underlying neural mechanisms of several cognitive processes. To date, familiarity in music listening and its neural correlates in typical adults have been investigated using a variety of neuroimaging techniques, yet the results are inconsistent. In addition, these correlates and respective functional connectivity related to music familiarity in typically developing (TD) children and children with autism spectrum disorder (ASD) are unknown. The present work consists of two studies. The first one reviews and qualitatively synthesizes relevant literature on the neural correlates of music familiarity, in healthy adult populations, using different neuroimaging methods. Then it estimates the brain areas most active when listening to familiar and unfamiliar musical excerpts using a coordinate-based meta-analyses technique of neuroimaging data. We established that motor brain structures were consistently active during familiar music listening. The activation of these motor-related areas could reflect audio-motor synchronization to elements of the music, such as rhythm and melody, so that one can tap, dance and “covert” sing along with a known song. -
Music Selections REVISED 6 AUG 18:46 選曲 / Musiques As of FRI 6 AUG 2021
Ariake Gymnastics Centre Rhythmic Gymnastics 有明体操競技場 新体操 / Gymnastique rythmique Centre de gymnastique d'Ariake Individual All-Around 個人総合 / Concours multiple individuel Music Selections REVISED 6 AUG 18:46 選曲 / Musiques As of FRI 6 AUG 2021 NOC Music Name Title Composer Performer Code Length IAKOVLEVA Lidiia AUS 1:30 Guerilleos Maxime Rodriguez Maxime Rodriguez 1:30 We Can't Stop Doug E. Fresh et al. Scott Bradlee and Postmodern Jukebox 1:30 Porto Worakls Worakls 1:30 Wonder Woman 1984 Edge Official Edge Official AGHAMIROVA Zohra AZE 1:30 The Odyssey X-Ray Dog X-Ray Dog 1:30 Back in Black AC/DC Sershen and Zaritskaya 1:30 Ona Hei Van Dyck Jeffrey Nelson Jeff Van Dyck 1:30 Chortovo Koleso Mutaforiya Lili Mutaforiya Lili HARNASKO Alina BLR 1:30 Moonlight Sonata L.V.Beethoven Tommee Profitt 1:30 The Hardest Button to Button Jack White Aluminium 1:30 L'Assasymphonie W.Rousseau Florent Mothe 1:30 Nocturne Y.Vesnyak Y.Vesnyak SALOS Anastasiia BLR 1:30 Damina Mgzavrebi Mgzavrebi 1:30 Magic Mirror X.Mortimer X.Mortimer, M.Rodriguez 1:30 Between Heaven and Earth Camerata Camerata 1:30 The Flight Attendant-Main Title B.Neely B.Neely KALEYN Boryana BUL 1:30 Kakamora (from Moana) Mark Manchina, Lin-Manuel Miranda, Opetaia Foai Mark Manchina 1:30 Vecherai Rado Arrangement of Bulgarian folk music Dessislava Dobreva & Vesko Eshkenazy 1:30 3 to tango PerzLandel/VeguilaJuan/LuisMorera/LunaManuel ... Pitbull 1:30 Mozart(Symph.N40)/Metalica Enter Sandman W A Mozart/Kirk Hammett/James Hetfield/Lars Ulrich Mozart Heroes GRYW1AA---------------------------_48A -
Nigo Nigo (B)Ape Sounds Mp3, Flac, Wma
Nigo Nigo (B)ape Sounds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Pop Album: Nigo (B)ape Sounds Country: Japan Released: 2004 Style: Dub, Downtempo, Hip Hop MP3 version RAR size: 1600 mb FLAC version RAR size: 1418 mb WMA version RAR size: 1934 mb Rating: 4.2 Votes: 185 Other Formats: MP4 AA FLAC ASF AHX VQF RA Tracklist Hide Credits 1 –Neek Rusher Year 3978 0:43 2 –Ani & CQ Superconductivity 4:23 3 –YTR* Enjoy! Attack! Make It (The Days) 5:44 4 –Teriyaki Boyz Kamikaze 108 4:12 5 –Hi-D No Pain No Gain 3:43 6 –Neek Rusher Year 1993 0:45 7 –Yoshi , Pocyomkin, 446 Jump & Windin' 4:03 8 –Rhymester Girls On Film 6:02 9 –Ignition Man Alcoholic Drive 4:08 10 –Keyco Take Your Time 2:57 11 –Neek Rusher Year 2003 1:18 試行錯誤 12 –Gore-Tex 4:07 Featuring – Bob I Just Can't 13 –DJ Kaori 3:47 Featuring – Tarantula 14 –Boy-Ken* Nuff Bangarang 4:50 15 –Neek Rusher Year 2670 1:25 Planet Of The Bapes 16 –(B)ape Sounds Allsta!!!* Featuring – Ani , Boy-Ken*, CQ, DJ Kaori, Gore-Tex, Hi-D, Ignition 4:49 Man, Ilmari, Keyco, Pocyomkin, Ryo-Z, Verbal, Wise, Yoshi , YTR* Credits Compilation Producer – Nigo Marimba – Erimba (tracks: 14) Mixed By – Bennie RM (tracks: 1, 5, 6, 9 to 12, 15), C-Murder (tracks: 13), Supa Engineer "DURO"* (tracks: 16), K-U-D-O* (tracks: 2 to 4, 8, 14), Neek Rusher (tracks: 7) Producer – Ape Sounds (tracks: 8, 14), DJ Kaori (tracks: 13), DJ Shadow (tracks: 4), Force Of Nature (tracks: 2), GP* (tracks: 3), Neek Rusher (tracks: 1, 5 to 7, 9 to 12, 15), The Neptunes (tracks: 16), YTR* (tracks: 3) Scratches – Hide (tracks: 13), High Switch (tracks: 7) Notes Comes in a standard jewel case with fake diamonds floating around inside the spine. -
4393 Songs, 12.5 Days, 29.49 GB
Page 1 of 116 Music 4393 songs, 12.5 days, 29.49 GB Name Time Album Artist 1 a 2:34 Big Daddy Adam Edwards 2 a 2:34 Big Daddy Adam Edwards 3 The A Team 4:19 The A Team - Single Ed Sheeran 4 A.I.M. Fire! 4:00 Triple J Hottest 100 of 2011 Art vs. Science 5 Abc 3:00 Jackson 5 6 Abc 3:00 Jackson 5 7 ABC 2:57 Essential Michael Jackson [Dis… The Jackson 5 8 ABC 2:57 The Essential Michael Jackson… The Jackson 5 9 ABC 2:59 Jackson 5 10 Absolutely Everybody 3:42 101 Aussie Hits [CD4] Venessa Amorosi 11 ACAPULCO SUN 2:41 CLASSIC COLD COLLECTION JOHN FARNHAM 12 ACAPULCO SUN 2:41 CLASSIC COLD COLLECTION JOHN FARNHAM 13 Accidentally Kelly Street 3:20 101 Aussie Hits [CD4] Frente! 14 According To My Heart 3:15 Counting The Beat - Australian… the Reels 15 According To You 3:19 According To You Orianthi 16 Achy Breaky Heart 3:25 100% Hits Volume 6 Various Artists 17 Act Your Age 2:41 Triple J's Hottest 100, Vol. 21 Bliss n Eso 18 Act Yr Age 3:20 Company Bluejuice 19 Adam 0:10 Crocq's Album Crocq 20 Adam 0:10 Crocq's Album Crocq 21 The Adam's Family Theme 1:21 Halloween Garage Rock The Horror Theme Ensemble 22 Addicted To Bass 3:54 101 Aussie Hits [CD4] Josh Abrahams & Amiel Daemion 23 Addicted To You Custom Backi… 2:30 Karaoke Version Avicii 24 Addictive (Dirty Version) 3:46 Addictive CD Single Truth Hurts feat. -
Dexter THOMAS Dissertation Niggers and Japs Right Wing Hip-Hop and The
Niggers and Japs Right-wing hip-hop and the black model minority in Japan A Dissertation Presented to the Faculty of the Graduate School of Cornel University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy by Dexter Lee Thomas, Jr May 2020 © 2020 Dexter Lee Thomas, Jr. Abstract NIGGERS AND JAPS: RIGHT-WING HIP-HOP AND THE BLACK MODEL MINORITY IN JAPAN Dexter Lee Thomas Jr , Ph.D. Cornell University 2020 Right-wing, nationalist hip-hop shouldn’t exist, but it does in Japan. This is the starting point – but this dissertation ends up ends up expanding into several forms of pop culture. By examining what “blackness” means in Japan, I work to challenge assumptions about what “black” music means everywhere. I begin in 2015, in a Tokyo street, as an underground rap artist performs an anthem at a rally for a far-right wing mayoral candidate. Through a review of a handful of minor and major artists, I show that it is precisely because the Japanese hip-hop scene “respects” black people and is interested in black politics that it has become compatible with nationalism and the right wing. I then step back two decades to 1995, to examine a hip- hop comic book written by a woman who simultaneously achieved two things: accidentally exposed an early Japanese hip-hop scene struggling with being labeled “black wannabes” by mainstream society (while their counterparts who performed “white” music were able to express themselves freely), and also helped the scene out, by launching the first successful Japanese hip-hop radio show.