DOCSLIB.ORG

Boogie Down Productions Edutainment Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boogie Down Productions Edutainment Mp3, Flac, Wma Boogie Down Productions Edutainment mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Edutainment Country: Germany Released: 1994 MP3 version RAR size: 1788 mb FLAC version RAR size: 1500 mb WMA version RAR size: 1682 mb Rating: 4.6 Votes: 270 Other Formats: WMA AUD MPC MP1 AU VQF MP3 Tracklist Hide Credits 1 Exhibit A 1:40 2 Blackman In Effect 4:40 3 Ya Know The Rules 3:49 4 Exhibit B 0:51 5 Beef 2:30 6 House Nigga's 4:32 7 Exhibit C 0:14 Love's Gonna Get'cha (Material Love) 8 Performer [Love's Gonna Get You Baby Sample] – Jocelyn BrownWritten-by 6:40 [Love's Gonna Get You Baby Sample] – T. Coleandreo* 100 Guns 9 3:57 Keyboards – Sidney Mills Ya Strugglin' 10 3:13 Featuring – Kwame Touré* 11 Breath Control II 3:55 12 Exhibit D 0:40 13 Edutainment 3:04 14 The Homeless 2:24 15 Exhibit E 0:38 16 The Kenny Parker Show 5:29 Original Lyrics 17 4:03 Featuring – Special "K"* 18 The Racist 3:22 Bonus Tracks: 19 7 Dee Jays 9:18 20 30 Cops Or More 4:03 21 Exhibit F 0:55 Companies, etc. Pressed By – Sonopress – I-3527 Credits Design – ZombArt NG* Engineer – D-Square (tracks: 1 to 3, 5 to 13, 15 to 21), Mike Nuceeder* (tracks: 14), Rebekeh Foster* (tracks: 6, 20) Mastered By – Tom Coyne Photography By – Gary Spector Producer – D-Nice (tracks: 2, 10), Decadent Dub Team (tracks: 19, 20), KRS-One (tracks: 1 to 7, 9 to 21), Pal Joey (tracks: 8), Sidney Mills (tracks: 19, 20) Scratches – DJ Kenny Parker* Written-By, Directed By, Mixed By – KRS-One Notes Recorded and mixed at Power Play Studio, L.I.C., NY and Battery Studios, NYC. Mastered at DMS, NYC. ℗ © 1990 Zomba Recording Corporation Distributed by BMG Disc: Made in Germany Back sleeve: Printed in Germany Barcode and Other Identifiers Barcode: 7 43211 23952 3 Matrix / Runout: SONOPRESS I-3527 / 4321123952 A DS03 Mastering SID Code: IFPI L023 Mould SID Code: IFPI 0759 Label Code: LC 7925 Rights Society: BIEM GEMA Other (Distribution Code): F: BM720 Other versions Category Artist Title (Format) Label Category Country Year Boogie Down Edutainment (LP, Jive, 1358-1-J 1358-1-J US 1990 Productions Album) RCA Jive, 1394-1-J, Boogie Down Edutainment (LP, 1394-1-J, Jive, US 1990 1394-1-JDAB Productions Album, Promo) 1394-1-JDAB RCA Boogie Down Edutainment (LP, 150.8098 Jive 150.8098 Brazil 1990 Productions Album) Boogie Down Edutainment (LP, HIP 100 Jive HIP 100 UK 1990 Productions Album) Boogie Down Edutainment (Cass, 1358-4-J Jive 1358-4-J Canada 1990 Productions Album) Related Music albums to Edutainment by Boogie Down Productions Exhibit B - It’s Hypothetical Various - Exhibit L - Nomocrime Boogie Down Productions - Love's Gonna Get'cha (Material Love) Various - Bouquet Of Barbed Wire Exhibit A - G Minor Anthony Collins - Exhibit "D" Anthony Collins & Friends Pissing Contest - Exhibit B: Golden Rule The New Regime - Exhibit A / Exhibit B Hammerhead - Anarcho Retardist Terror Exhibit The Atrocity Exhibit - The Atrocity Exhibit EP Paul Nova - Fantasy And Feeling Jay Electronica - Exhibit C.
Load more

Recommended publications
  • Exploring and Understanding the Practices, Behaviors, and Identities of Hip-Hop Based Educators in Urban Public High School English/Language Arts Classrooms
    EXPLORING AND UNDERSTANDING THE PRACTICES, BEHAVIORS, AND IDENTITIES OF HIP-HOP BASED EDUCATORS IN URBAN PUBLIC HIGH SCHOOL ENGLISH/LANGUAGE ARTS CLASSROOMS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by H. Bernard Hall August 2012 Examining Committee Members: Marc Lamont Hill, Advisory Chair, Teachers College, Columbia University Erin McNamara Horvat, Department of Teaching and Learning Wanda Brooks, Department of Teaching and Learning James Earl Davis, Department of Psychological, Organizational and Leadership Studies Emery Petchauer, External Member, Oakland University © Copyright by H. Bernard Hall 2012 ii ABSTRACT Exploring and Understanding the Practices, Behaviors, and Identities of Hip-hop Based Educators in Urban Public High School English/language arts Classrooms H. Bernard Hall Grounded in theories of culturally relevant and hip-hop pedagogies, this ethnographic study of a demographically diverse “community nominated” cohort of urban public high school teachers who integrate hip-hop pedagogies into their English/language arts classrooms responds to the methodological and theoretical shortcomings of a burgeoning body of research known as “hip-hop based education” (HHBE). HHBE has argued that curriculum and pedagogy
    [Show full text]
  • Lyricist's Lyrical Lyrics: Widening the Scope of Poetry Studies by Claiming the Obvious
    Paper from the Conference “Current Issues in European Cultural Studies”, organised by the Advanced Cultural Studies Institute of Sweden (ACSIS) in Norrköping 15-17 June 2011. Conference Proceedings published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=062. © The Author. Lyricist’s Lyrical Lyrics: Widening the Scope 1 of Poetry Studies by Claiming the Obvious Geert Buelens Utrecht University/ Stellenbosch University [email protected] Poetry is all but absent from Cultural Studies. Most treatments of the genre tend to focus on canonized poets whose work is wilfully difficult and obscure. Alternative histories should be explored, opening up possibilities to view poetry again as a culturally relevant art form. The demotic and popular strain provides a case in point. From the Romantics onwards modern poetry linked itself with oral or folk traditions like the ballad. Socially the most popular of these forms is the pop lyric. Since the 1950s rock lyrics have been studied in Social Studies, Cultural Studies, Musicology and some English Departments, but rarely within the context of Poetics or Comparative Literature. Rap and canonized singer-songwriters like Dylan and Cohen are the exceptions to the rule. Systematic attention to both lyrics and performance may open up current ideas of what a poem is and how it works. 1 This article is the non copy-edited draft of a paper presented at the 2011 ACSIS conference ‘Current Issues in European Cultural Studies’, Norrköping, 15-17 June 2011 within the session ‘Revisiting the Literary Within Cultural Studies’. 495 LYRICIST’s LYRICAL LYRICS: WIDENING THE SKOPE OF POETRY STUDIES BY CLAIMING THE OBVIOUS Listen – I’m not dissin but there’s something that you’re missin Maybe you should touch reality KRS-One/Boogie Down Productions, ‘Poetry’ (1987) (in Bradley&DuBois 2010, 145) It is a truism of sorts to claim that Cultural Studies tries to understand the world we live in and to explain how cultural artefacts both reflect and construct that world and its inherent political tensions.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • GET 51308 BDP Sex & Violence LP
    BOOGIE DOWN PRODUCTIONS SEX & VIOLENCE SIDE A 1. The Original Way 2. Duck Down 3. Drug Dealer 4. Like A Throttle Boogie Down Productions was one of the most important hip-hop crews SIDE B of the 1980s and ‘90s, and are rightfully revered by both fans and scholars. First exploding out of the South Bronx in 1986, the group 1. Build And Destroy created an amazing mix of raw power and hyper-intelligence, and gave the world multiple classics throughout the late ‘80s, under the BPD moniker, 2. Ruff Ruff (feat. Freddie Foxxx) even after losing DJ and chief producer Scott LaRock to gun violence in 1987. 3. 13 And Good For reasons unknown, the group’s early 1990s output – which also 4. Poisonous Products includes Live Hardcore Worldwide and Edutainment – lost some luster in the eyes and ears of fans. But this wasn’t KRS-One’s fault. The legendary MC never faltered in bringing true intelligence and a forward-thinking SIDE C stance to the rap world, even as derivative gangsta rap took over the music scene on the whole, in the wake of N.W.A.. 1. Questions And Answers 1992’s Sex & Violence, the last album made under the Boogie Down 2. Say Gal Productions name, is a perfect example of an underrated classic, and fans will appreciate it getting new shine here, to correct its lukewarm reception 3. We In There upon its initial release. Produced by KRS-One and Pal Joey, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix.
    [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]
  • Boogie Down Productions Sex and Violence Mp3, Flac, Wma
    Boogie Down Productions Sex And Violence mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Sex And Violence Country: US Released: 1992 Style: Conscious MP3 version RAR size: 1188 mb FLAC version RAR size: 1941 mb WMA version RAR size: 1941 mb Rating: 4.8 Votes: 858 Other Formats: DTS MP1 AHX ASF VOX AUD AU Tracklist Hide Credits The Original Way A1 Drum Programming [Beats] – D-Square, Kenny ParkerWritten-By – F. Foxxx*, K. Parker*, L. 5:25 Parker* Duck Down A2 3:48 Producer – Pal JoeyWritten-By – L. Parker*, Pal Joey Drug Dealer A3 4:44 Drum Programming [Beats] – Prince PaulWritten-By – L. Parker*, Prince Paul Like A Throttle A4 4:17 Drum Programming [Beats] – Kenny ParkerWritten-By – K. Parker*, L. Parker* Build And Destroy A5 4:48 Drum Programming [Beats] – Kenny ParkerWritten-By – K. Parker*, L. Parker* Ruff Ruff A6 Drum Programming [Beats] – D-SquareFeaturing – Freddie FoxxxWritten-By – D. Sumal*, 5:22 F. Foxxx*, L. Parker* 13 And Good A7 4:27 Producer – Pal JoeyWritten-By – L. Parker*, Pal Joey Poisonous Products B1 4:11 Drum Programming [Beats] – Kenny ParkerWritten-By – K. Parker*, L. Parker* Questions And Answers B2 4:29 Producer – Pal JoeyWritten-By – L. Parker*, Pal Joey Say Gal B3 4:14 Drum Programming [Beats] – KRS-OneWritten-By – L. Parker* We In There B4 3:30 Drum Programming [Beats] – Kenny ParkerWritten-By – K. Parker*, L. Parker* Sex And Violence B5 4:03 Drum Programming [Beats] – Prince PaulWritten-By – L. Parker*, Prince Paul How Not To Get Jerked B6 4:20 Drum Programming [Beats] – Prince PaulWritten-By – L.
    [Show full text]
  • 0 Musical Borrowing in Hip-Hop
    MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
    [Show full text]
  • MTO 7.4: Walker, Review of Krims
    Volume 7, Number 4, July 2001 Copyright © 2001 Society for Music Theory Jonathan Walker KEYWORDS: hip-hop, cultural studies, pop music, African-American music, textural analysis, Ice Cube [1] By the end of the 1960s, the coalition of forces involved in civil rights campaigning had dissolved: white liberals who were happy to call for voting rights and an end to de jure segregation blanched when Malcolm X and eventually Martin Luther King condemned government and business interests in northern cities for their maintenance of economic inequality and de facto segregation; SNCC and CORE expelled their white members and came under increasing police surveillance and provocation; the Black Panthers seized the moment by putting into practice the kind of self defense Malcolm X had called for, but even they collapsed under sustained and violent FBI suppression. At the same time Nixon encouraged the suppression of radical black movements, he finessed the Black Power movement, turning it into a mechanism for generating black entrepreneurs and professionals to be co-opted by the system under the cloak of radical rhetoric.(1) [2] Black musical culture may have become big business in the 60s, but it was still responsive to changes in the black community. The non-violence of the early-60s campaigns had been dependent on its appeal to the conscience of the Washington political establishment, or on its threat to their international image (it certainly wasn’t going to pull on the heartstrings of the southern police and Citizens’ Councils); when this strategy
    [Show full text]
  • Mixtape Djs, the Piracy Paradox, and Lessons for the Recording Industry
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2009 "Criminal Minded?": Mixtape DJs, The Piracy Paradox, and Lessons for the Recording Industry Horace E. Anderson Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, "Criminal Minded?": Mixtape DJs, The Piracy Paradox, and Lessons for the Recording Industry, 76 Tenn. L. Rev. 111 (2009), http://digitalcommons.pace.edu/lawfaculty/484/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. "CRIMINAL MINDED?":' MIXTAPE DJS, THE PIRACY PARADOX, AND LESSONS FOR THE RECORDING INDUSTRY HORACE E. ANDERSON, JR.* ' 2 "There's nothing that sells music like music. - 50 Cent "Just because you can do something, doesn't mean you should do it."3 - Folk wisdom For at least the past three years, leading American fashion designers have lobbied for passage of copyright-like protection for the design aspects of their apparel creations.4 For at least as long, the recorded-music industry has been engaged in an aggressive campaign to enforce its copyrights in recorded music against a number of technology-enabled, culturally ,,sympathetic alleged,,5 infringers, including "twelve year-olds" and grandmothers. Although the record labels already have protection under the copyright law while the fashion houses seek it, both groups have at least 1.
    [Show full text]
  • If You Don't Know, Now You Know
    ENGLISH If you don’t know, now you know A study of the educational qualities of hip-hop lyrics Erik Håkman Supervisor: Joe Trotta C-level Linguistic Essay Examinator: VT 2012 Larisa Gustafsson Oldireva Abstract Departmen t: University of Gothenburg, Department of Languages and Literatures, English Course: EN1C03 - English: Advanced Undergraduate Level (linguistic essay) for General Purposes. Bachelor’s Degree Essay Project (C-level paper) Semester: Spring 2012 Title: If you don’t know, now you know: A study of the educational qualities of hip-hop lyrics Author: Erik Håkman Supervisor: Joe Trotta Aim(s): To explore the qualities of hip-hop as an educational medium based on the close reading and in-depth analysis of its lyrics, using the lyrics to Nas’ N.Y. State of mind to discuss and exemplify the general traits of language structure as well as historical and cultural content. Method(s): Exploring the qualities of hip-hop lyrics as an educational medium based on the decoding and in-depth analysis of the lyrics to N.Y. State of mind. The analysis is carried out within the conceptual framework of hip-hop discourse. Material: Lyrics to Nas’s N.Y. State of mind . Main results: The genuinely authentic language, poetic structure and historical/cultural representation in Hip-hop’s lyrics resemble the explicit uncensored version of a school textbook. With critical thinking and the right interpretation it can teach us the history and culture of past and present times, from the perspective of its contemporaries, esthetically pleasing our minds with its masterful use of the many forms and shapes of language.
    [Show full text]
  • Boogie Down Productions Duck Down / We in There Mp3, Flac, Wma
    Boogie Down Productions Duck Down / We In There mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Duck Down / We In There Country: US Released: 2004 Style: Conscious MP3 version RAR size: 1198 mb FLAC version RAR size: 1883 mb WMA version RAR size: 1141 mb Rating: 4.1 Votes: 533 Other Formats: XM TTA FLAC AU AC3 WMA MP2 Tracklist Hide Credits Duck Down (LP Version) A1 Engineer [Mix] – Peter GeorgeEngineer [Recording] – Dwayne (D-Square) Sumal*Producer 3:48 – KRS-One, Pal Joey Duck Down (Video Version) A2 Engineer [Mix] – Peter GeorgeEngineer [Recording] – Dwayne (D-Square) Sumal*Producer 3:48 – KRS-One, Pal Joey Like A Throttle (LP Version) A3 Engineer – Dwayne (D-Square) Sumal*Mixed By – Dwayne (D-Square) Sumal*Producer – 4:17 KRS-One, Kenny Parker We In There (LP Version) B1 Backing Vocals – KRS-One, Kenny Parker, Sidney Mills, Willie D.*Engineer [Recording And 3:13 Mix] – Gerard Julian*Mixed By – Sidney Mills, Willie D.*Producer – Kenny Parker Duck Down (Instrumental) B2 Engineer [Mix] – Peter GeorgeEngineer [Recording] – Dwayne (D-Square) Sumal*Producer 3:43 – KRS-One, Pal Joey We In There (Instrumental) B3 Engineer [Recording And Mix] – Gerard Julian*Mixed By – Sidney Mills, Willie D.*Producer 3:13 – Kenny Parker Credits Artwork By [Design] – ZombaArt JK Mastered By – Tom Coyne Photography – Gary Spector Written-By – L. Parker* Barcode and Other Identifiers Barcode: 0 12414 20211 6 Other versions Category Artist Title (Format) Label Category Country Year Boogie Down 01241-42021-1 Duck Down (12") Jive 01241-42021-1 US
    [Show full text]
  • Boogie Down Productions I'm Still #1
    I'm Still #1 Boogie Down Productions D.J. Doc you know he's down with us D-Square, he's down with us Keyboard Money Mike, is down with us I.C.U., you know he's down with us D-Nice and McBoo, they're down with us Ms. Melodie, she's down with us Just-Ice and DMX, they're down with us My manager Moe, he's down with us Castle-D boy, he's down with us D.J. Red Alert, he's down with us Robocop boy, he's down with us Makin' funky music is a must I'm number one. People still takin' rappin' for a joke A passing hope or a phase with a rope Sometimes I choke and try to believe When I get challenged by a million MCs I try to tell them, "We're all in this together!" My album was raw because no-one would ever Think like I think and do what I do I stole the show, and then I leave without a clue What do you think makes up a KRS? Concisive teaching, or very clear speaking? Ridiculous bass, aggravating treble Rebel, renegade, must stay paid Not by financial aid, but a raid of hits Causing me to take long trips I'm the original teacher of this type of style Rockin' off-beat with a smile Or smirk or chuckle, yes some are not up to BDP Posse so I love to Step in the jam and slam I'm not Superman, because anybody can Or should be able to rock off turntables Grab the mic, plug it in and begin But here's where the problem starts, no heart Because of that a lot of groups fell apart Rap is still an art, and no-one's from the Old School 'cause Rap is still a brand-new tool I say no-one's from the Old School 'cause Rap on a whole Isn't even twenty years old Fifty years down the line, you can start this 'cause we'll be the Old School artists And even in that time, I'll say a rhyme A brand-new style, ruthless and wild Runnin' around spendin' money, havin' fun 'cause even then, I'm still number one.
    [Show full text]