MMM the Album

Total Page：16

File Type：pdf, Size：1020Kb

DOMENICA 20 DICEMBRE 2015 Lo scorso 4 novembre Puff Daddy ha scatenato una tempesta in rete, cogliendo di sorpresa i fan con la release gratuita del suo "film sonoro", MMM, per celebrare il suo compleanno. 'MMM The ALBUM', disponibile Puff Daddy disponibile l'album in in download digitale su iTunes: http://smarturl.it/mmm_itunes, su download 'MMM The Album' etichetta Bad Boy Entertainment/Epic Records e anticipa quello che sarà l'ultimo disco del magnate del rap che si intitolerà "No Way Out 2". Questa versione di 'MMM The ALBUM' è arricchita da 2 nuove tracce in esclusiva per iTunes. Questi due brani inediti ospitano sia delle new entry di casa Bad Boy che delle leggende: "Cocaine" vede il ft. di Gizzle, e LA REDAZIONE "Old Man Wildin'" quelli di Jadakiss e Styles P. La pubblicazione in download di 'MMM The ALBUM' segue l'enorme fermento online generato dall'uscita in streaming, che ha ricevuto un grandissimo supporto da testate come Billboard, Entertainment Weekly, XXL e The FADER. Rolling Stone dichiara: "Puff ritorna ai beat duri e alle atmosfere tranquille in un mixtape fortissimo", definendo Puff "un [email protected] professionista consumato" e MMM un "un mixtape pieno di star che SPETTACOLINEWS.IT esplora le radici di Harlem del magnate del rap." Complex osserva: "Puff Daddy è tornato con rinnovata energia. È l'unica persona che può condurre delle session che ambiscono fortemente alla perfezione e sembrano anche divertentissime." Pitchfork conclude: "Attira ancora l'attenzione dei massimi nomi dell'hip-hop così come dei fan casuali", e scrive che il "fascino da fontana della giovinezza? è ciò che attrae in Puff Daddy - il piacevole opportunista che ricorda il mito Americano e Gatsby-iano del successo auto-costruito." Sono online su REVOLT nuovi filmati del making of di MMM, inclusi in una versione completamente nuova del documentario di "MMM", in streaming qui: https://revolt.tv/videos/insider-acess-mmm-documentary-4bd73c2f MMM Tracklist 1. Facts 2. Harlem feat. Gizzle 3. Help Me feat. Sevyn Streeter 4. Everyday (Amor) feat. Jadakiss, Styles P, Pusha T & Tish 5. Auction feat. Lil' Kim, Styles P & King Los 6. Cocaine feat. Gizzle Pag. 1 / 2 7. MMM feat. Future & King Los 8. All or Nothing feat. French Montana & Wiz Khalifa 9. Workin feat. Travis Scott & Big Sean 10. Alpha Man 11. Old Man Wildin' feat. Jadakiss & Styles P 12. Happily Ever After 13. You Could Be My Lover feat. Ty Dolla $ign & Gizzle 14. Uptown feat. Brucie B 15. Money Ain't a Problem - Puff Daddy & The Family and French Montana 16. Blow a Check feat. Zoey Dollaz & French Montana Pag. 2 / 2.

Copy Link

Recommended publications

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.
[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]
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.
[Show full text]
Mmm Carhivai This Mekehdi
Jack Kelly Returns Student Art f estival Opens This Week to Colb —Jane Sudol students and faculty from 10 a.m. to 5 p.m., Feb 21, at the y fieldhouse. Powder and Wig will present "Barefoot in the -Evan Katz The 1 976 Student Arts Festival will open at 8 p.m. Park" at 7:30 p.m. Saturday and at 2 p.m. and 7 p.m. on this Friday night with a kaleidoscope of color in Bixler's Sunday at the Waterville Opera House. Given Auditorium Jette Gallery. Visitors to the event, entitled "An Evening will be the setting for "An Evening of Jazz" with the Less You can't go home again ; or at least that's what they say of Colorful Expression," are requested to dress all in one is More Jazz Band at 8 p.m., Feb. 22. However, Jack Kelley may prove to be the exception to the color or in shades of one color. Music and refreshments will The Rod Rogers Dance Company will perform at rule. In 1962 Kelley left Colby to coach hockey at Boston introduce the Student Art Exhibit, a display of projects 8 p.m., Feb. 23, at the Opera House; on Feb. 24, a Gra- University. But last December Kelley stepped down from by all independent and group Jan Plans dealing with.art, phic Arts Workshop will be conducted from 3 p.m. to 5 his positions as Coach - and General Manager of the New England and art work completed over the past year by individual p.m.
[Show full text]
VOLUME 4 NUMBER 1 NYU Journal of Intellectual Property
JIPEL NYU Journal of Intellectual Property & Entertainment Law NOTES Song On Wire: A Technical Analysis of Redigi and the Pre-Owned Digital Media Marketplace James Huguenin-Love Association for Molecular Pathology v. Myriad Genetics, Inc. and Its Impact on the Patentability of “Designer” Genes Amanda Russo Media Law and Copyright Implications of Automated Journalism Lin Weeks ARTICLES Amicus Brief of the Electronic Frontier Foundation and the ACLU of Virginia in Radiance Foundation, Inc. v. NAACP Eugene Volokh Application of a Mechanism of Proportional Reward Towards Global Innovation Esteban Donoso Remixing Transformative Use: A Three-Part Proposal for Reform Liz Brown The Interview John Koegel & Barton Beebe VOLUME 4 NUMBER 1 NEW YORK UNIVERSITY JOURNAL OF INTELLECTUAL PROPERTY & ENTERTAINMENT LAW VOLUME 4 Winter 2014 NUMBER 1 CONTENTS Preface…………………………………………………………………….…v NOTES Song On Wire: A Technical Analysis of Redigi and the Pre-Owned Digital Media Marketplace James Huguenin-Love……………………….………………..………1 Association for Molecular Pathology v. Myriad Genetics, Inc. and Its Impact on the Patentability of “Designer” Genes Amanda Russo………………….……..……………………………37 Media Law and Copyright Implications of Automated Journalism Lin Weeks …………………………………………………………...67 ARTICLES Amicus Brief of the Electronic Frontier Foundation and the ACLU of Virginia in Radiance Foundation, Inc. v. NAACP Eugene Volokh & Mairead Dolan…………………………………..95 Application of a Mechanism of Proportional Reward Towards Global Innovation Esteban Donoso……………………………………………………105 Remixing Transformative Use: A Three-Part Proposal for Reform Liz Brown.……………………………………….…………………139 The Interview: John Koegel & Barton Beebe……………………….……182 i Statement of Purpose Consistent with its unique development, The New York University Journal of Intellectual Property & Entertainment Law (JIPEL) is a nonpartisan periodical specializing in the analysis of timely and cutting-edge topics in the world of intellectual property and entertainment law.
[Show full text]
AWARDS 21X MULTI-PLATINUM ALBUM May // 5/1/18 - 5/31/18
RIAA GOLD & PLATINUM HOOTIE & THE BLOWFISH // CRACKED REAR VIEW AWARDS 21X MULTI-PLATINUM ALBUM May // 5/1/18 - 5/31/18 FUTURE // EVOL PLATINUM ALBUM In May, RIAA certified 201 Song Awards and 37 Album Awards. All RIAA Awards dating back to 1958 are available at BLACK PANTHER THE ALBUM // SOUNDTRACK PLATINUM ALBUM riaa.com/gold-platinum! Don’t miss the NEW riaa.com/goldandplatinum60 site celebrating 60 years of Gold & Platinum CHARLIE PUTH // VOICENOTES GOLD ALBUM Awards and many #RIAATopCertified milestones for your favorite artists! LORDE // MELODRAMA SONGS GOLD ALBUM www.riaa.com // // // GOLD & PLATINUM AWARDS MAY // 5/1/18 - 5/31/18 MULTI PLATINUM SINGLE // 43 Cert Date// Title// Artist// Genre// Label// Plat Level// Rel. Date// R&B/ 5/22/2018 Bank Account 21 Savage Slaughter Gang/Epic 7/7/2017 Hip Hop Meant To Be (Feat. 5/25/2018 Bebe Rexha Pop Warner Bros Records 8/11/2017 Florida Georgia Line) 5/11/2018 Attention Charlie Puth Pop Atlantic Records 4/20/2017 R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records R&B/ Young Money/Cash Money/ 5/31/2018 God's Plan Drake 1/19/2018 Hip Hop Republic Records Crew (Feat.
[Show full text]
Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose
Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Sherman W. Sutherland June 2008 2 This dissertation titled Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose by SHERMAN W. SUTHERLAND has been approved for the Department of English and the College of Arts and Sciences by Darrell K. Spencer Stocker Professor in Creative Writing Benjamin M. Ogles Dean, College of Arts and Sciences 3 ABSTRACT SUTHERLAND, SHERMAN W., Ph.D., June 2008, English Diary of the Coolville Killer: Reflections on the Bush Years, Rendered in Fictional Prose (214 pp.) Director of Dissertation: Darrell K. Spencer This dissertation consists of an allegorical novel, written in the form of a diary, set mostly in southeastern Ohio. The critical introduction explores the effect of temporal perspective on first-person interpolated stories such as diaries and epistolary narratives. Based on the work of narratologists such as Gerard Genette and Gerald Prince, the introduction discusses the need for thoughtful consideration of temporal position and distance in the composition of first-person interpolated narratives. Approved: _____________________________________________________________ Darrell K. Spencer Stocker Professor in Creative Writing 4 ACKNOWLEDGMENTS Thanks to Drs. Darrell Spencer, David Burton, Zakes Mda and Robert Miklitsch for their support and guidance. Thanks also to Joan Connor and Dr. Andrew Escobedo for their continued encouragement. Thanks to Dr. William Austin, Alan Black, Richard Duggin, Dr. John J.
[Show full text]
Christina Hogarth Thesis
1 The End of Convenience: A Hip Hopera and Exegesis By Christina Hogarth Doctor of Philosophy 2017 1 2 ABSTRACT This practice-led PhD consists of a feature film screenplay titled ‘THE END OF CONVENIENCE’ and an exegesis that critically reflects on the process of creating the work and its related themes. The artefact explores the life and relationship challenges encountered by three unmarried young couples who are forced by finances and circumstance to co-habit in share accommodation. It also investigates some of the difficulties of youth cohabitation, such as economic and social marginalisation. The dialogue is constructed in rap. The screenplay interrogates the notion that sharehousing is both an individual and societal economic relationship of benefit, explores whether the relationships within sharehouses are constructed around convenience, and asks what happens to the lives of young people when they enter sharehouse arrangements. The exegesis analyses, critiques, and reflects upon the writerly choices made during the creation of the screenplay. It integrates discussion about these choices with questions around whether the musical genre of Hip Hop can be used to tell a story about urban marginalisation in an Australian domestic environment. It evaluates whether Hip Hop is an effective tool for social commentary when the subject of its storytelling is not the industries of the street or race related issues. It also uses the frame of Feminist Standpoint Theory as its central theoretical approach and applies it to questions and assumption around the role of gender, performance, and lived experience in Hip Hop, narratives of cohabitation, and to the debates around appropriation of cultural and musical forms.
[Show full text]
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse.
[Show full text]
Expanding the Recording Artist's Brand Into Non-Music Arenas
Vanderbilt Journal of Entertainment & Technology Law Volume 20 Issue 2 Issue 2 - Winter 2017 Article 3 2017 The Non-Recording, Non-Artist" Recording Artist": Expanding the Recording Artist's Brand into Non-Music Arenas Suzanne Kessler Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Suzanne Kessler, The Non-Recording, Non-Artist" Recording Artist": Expanding the Recording Artist's Brand into Non-Music Arenas, 20 Vanderbilt Journal of Entertainment and Technology Law 515 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol20/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. The Non-Recording, Non-Artist "Recording Artist": Expanding the Recording Artist's Brand into Non-Music Arenas Suzanne Kessler* ABSTRACT The changing nature of the music business presents earnings challenges for both record labels and recording artists. Historically, labels and artists entered into recording contracts pursuant to which the artists created music which the labels funded, distributed, marketed, and promoted. Many artists made good livings from music sales, earning dollars per album, while the labels profited even more. However, as digital delivery, especially streaming, now supplants physical records as the primary music consumption manner, the money that labels and artists realize from music sales has significantly decreased. In particular, artists earn fractions of pennies per track streamed.
[Show full text]
Songs by Artist
Songs By Artist Artist Song Title Disc # Artist Song Title Disc # (children's Songs) I've Been Working On The 04786 (christmas) Pointer Santa Claus Is Coming To 08087 Railroad Sisters, The Town London Bridge Is Falling 05793 (christmas) Presley, Blue Christmas 01032 Down Elvis Mary Had A Little Lamb 06220 (christmas) Reggae Man O Christmas Tree (o 11928 Polly Wolly Doodle 07454 Tannenbaum) (christmas) Sia Everyday Is Christmas 11784 She'll Be Comin' Round The 08344 Mountain (christmas) Strait, Christmas Cookies 11754 Skip To My Lou 08545 George (duet) 50 Cent & Nate 21 Questions 00036 This Old Man 09599 Dogg Three Blind Mice 09631 (duet) Adams, Bryan & When You're Gone 10534 Twinkle Twinkle Little Star 09938 Melanie C. (christian) Swing Low, Sweet Chariot 09228 (duet) Adams, Bryan & All For Love 00228 (christmas) Deck The Halls 02052 Sting & Rod Stewart (duet) Alex & Sierra Scarecrow 08155 Greensleeves 03464 (duet) All Star Tribute What's Goin' On 10428 I Saw Mommy Kissing 04438 Santa Claus (duet) Anka, Paul & Pennies From Heaven 07334 Jingle Bells 05154 Michael Buble (duet) Aqua Barbie Girl 00727 Joy To The World 05169 (duet) Atlantic Starr Always 00342 Little Drummer Boy 05711 I'll Remember You 04667 Rudolph The Red-nosed 07990 Reindeer Secret Lovers 08191 Santa Claus Is Coming To 08088 (duet) Balvin, J. & Safari 08057 Town Pharrell Williams & Bia Sleigh Ride 08564 & Sky Twelve Days Of Christmas, 09934 (duet) Barenaked Ladies If I Had $1,000,000 04597 The (duet) Base, Rob & D.j. It Takes Two 05028 We Wish You A Merry 10324 E-z Rock Christmas (duet) Beyonce & Freedom 03007 (christmas) (duets) Year Snow Miser Song 11989 Kendrick Lamar Without A Santa Claus (duet) Beyonce & Luther Closer I Get To You, The 01633 (christmas) (musical) We Need A Little Christmas 10314 Vandross Mame (duet) Black, Clint & Bad Goodbye, A 00674 (christmas) Andrew Christmas Island 11755 Wynonna Sisters, The (duet) Blige, Mary J.
[Show full text]
4-H Camp Shankitunk
OFFICIAL SONG BOOK Revised June 2015 Meal-Time Songs JOHNNY APPLESEED PRAISE TO THE COOKS (Sung as opposing sides) Oh . the Earth is good to me And so I thank the Earth A) Praise to the cooks For giving me the things I need B) For the “Food Type” The sun, the rain, and the appleseed The Earth is good to me A) Praise to the cooks B) For the “Food Type” THANK YOU COOKS A) Praise to the cooks (Repeat each line) B) For the “Food Type” Thank you Cooks For the “food type” DO YOU LIKE PANCAKES? This food is really awesome (Can substitute other foods) Yum Yum Yum. Do you like pancakes? (Yes I like Pancakes) MORNING IS HERE Do you like Waffles? (Yes I like Waffles) Morning (Noontime, Evening) is here, Do you like French Toast? The day is spread. (Yes I like French Toast) Praise to the cooks who give us bread. Do Do Do Do Praise cooks for bread. Can’t Wait To Get A Mouthful! BIRDS IN THE WILDERNESS SANDWICHES ARE BEAUTIFUL Here we sit like birds in the wilderness, Sandwiches are beautiful, birds in the wilderness Sandwiches are fine. birds in the wilderness, I like Sandwiches, Here we sit like birds in the wilderness, I eat them all the time. waiting to be fed. I eat them for my supper, Waiting to be fed - (TWEET TWEET) I eat them for my lunch, Waiting to be fed – (TWEET TWEET) And if I had a hundred sandwiches, Here we sit like birds in the wilderness I’d eat them by the bunch, Waiting to be fed.
[Show full text]