Lil' Wayne Featuring Mannie Fresh

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Lil’ Wayne Bring It Back mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Bring It Back Country: US Released: 2004 MP3 version RAR size: 1138 mb FLAC version RAR size: 1183 mb WMA version RAR size: 1633 mb Rating: 4.4 Votes: 379 Other Formats: AA APE WAV DXD VQF MP1 DTS Tracklist Hide Credits Bring It Back (Main Clean) 1 4:22 Featuring – Mannie Fresh 2 Bring It Back (Instrumental) 4:22 Companies, etc. Phonographic Copyright (p) – Cash Money Records, Inc. Copyright (c) – Cash Money Records, Inc. Manufactured By – Universal Records Marketed By – Universal Records Distributed By – Universal Music & Video Distribution, Corp. Recorded At – Cash Money Studios Mixed At – The Hit Factory Made By – UML Published By – Money Mack Music Credits Coordinator [A&R Coordinator] – Russel Neblett Executive-Producer – Bryan "Baby Birdman" Williams*, Ronald "Slim Tha Don" Williams* Management [Marketing] – Katina Bynum Mixed By – Sergio Tsai* Producer, Recorded By – Mannie Fresh Written-By – B. Thomas*, D. Carter* Notes Published by Money Mack Music/BMI Recorded at Cash Money Studios, New Orleans, LA Mixed at The Hit Factory, New York, NY For Promotional Use Only / Not For Sale ℗© 2004 Cash Money Records, Inc. Manufactured and Marketed by Universal Records, a Division of UMG Recordings, Inc. 1755 Broadway, New York, NY 10019. Distributed by Universal Music & Video Distribution, Corp. All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in the USA. Barcode and Other Identifiers Matrix / Runout: UNI R21 2142R1 01$ E [UNIVERSAL Logo] Other (Mould Text): MADE IN USA BY UML Mastering SID Code: IFPI L009 Mould SID Code: IFPI 0319 Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year B0002575-11 Lil Wayne Bring It Back (12") Universal Records B0002575-11 US 2004 Bring It Back (12", UNIR 21214-1 Lil Wayne Universal Records UNIR 21214-1 US 2004 Promo) Related Music albums to Bring It Back by Lil’ Wayne 1. Tear Da Club Up Thugs - Who The Crunkest / Hypnotize Cash Money 2. Mack 10 - Bang Or Ball 3. Big Tymers - Big Ballin 4. Cash Money Millionaires - Platinum Instrumentals 5. Big Tymers Featuring Tateeze, Boo & Gotti - Oh Yeah! 6. Mannie Fresh Feat. Tateeze - Conversation 7. Rich Gang - Rich Gang 8. Juvenile - Juve The Great 9. Lil Wayne - The Block Is Hot 10. Lil Wayne - Get Something.

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"Authenticity" in Rap Music by Consumers."
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 "Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers." James L. Wright UTK, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Critical and Cultural Studies Commons, Ethnomusicology Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Wright, James L., ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers.". " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/760 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by James L. Wright entitled ""Rapping About Authenticity": Exploring the Differences in Perceptions of "Authenticity" in Rap Music by Consumers."." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Sociology. Suzaanne B. Kurth, Major Professor We have read this dissertation and recommend its acceptance: Robert Emmet Jones; Hoan Bui; Debora Baldwin Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by James L.
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The United Eras of Hip-Hop (1984-2008)
qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer The United Eras of Hip-Hop tyuiopasdfghjklzxcvbnmqwertyuiopas Examining the perception of hip-hop over the last quarter century dfghjklzxcvbnmqwertyuiopasdfghjklzx 5/1/2009 cvbnmqwertyuiopasdfghjklzxcvbnmqLawrence Murray wertyuiopasdfghjklzxc vbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmqw The United Eras of Hip-Hop ACKNOWLEDGMENTS There are so many people I need to acknowledge. Dr. Kelton Edmonds was my advisor for this project and I appreciate him helping me to study hip- hop. Dr. Susan Jasko was my advisor at California University of Pennsylvania since 2005 and encouraged me to stay in the Honors Program. Dr. Drew McGukin had the initiative to bring me to the Honors Program in the first place. I wanted to acknowledge everybody in the Honors Department (Dr. Ed Chute, Dr. Erin Mountz, Mrs. Kim Orslene, and Dr. Don Lawson). Doing a Red Hot Chili Peppers project in 2008 for Mr. Max Gonano was also very important. I would be remiss if I left out the encouragement of my family and my friends, who kept assuring me things would work out when I was never certain. Hip-Hop: 2009 Page 1 The United Eras of Hip-Hop TABLE OF CONTENTS ACKNOWLEDGMENTS
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Distribution agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: __________________________________ _________ Matthew L. Miller Date Bounce: Rap Music and Local Identity in New Orleans, 1980-2005 By Matt Miller Doctor of Philosophy Graduate Institute of Liberal Arts American Studies _________________________________________ Allen E. Tullos, Advisor _________________________________________ Timothy J. Dowd Committee Member _________________________________________ Anna Grimshaw Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the Graduate School __________ Date Bounce: Rap Music and Local Identity in New Orleans, 1980-2005 By Matt Miller B.A., Emory University, 1992 Advisor: Prof. Allen E. Tullos, Ph.D. An abstract of A dissertation submitted to the Faculty of the Graduate School of Emory University in partial fulfillment of the requirements of the degree of Doctor of Philosophy Graduate Institute of the Liberal Arts 2009 Abstract Bounce: Rap Music and Local Identity in New Orleans, 1980-2005 By Matt Miller Through a detailed, chronological examination of rap’s emergence and establishment in New Orleans, this dissertation shows how music and a sense of place are engaged in a dynamic relationship of mutual influence.
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