Eddie Ade Knowles Jason Keller
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dec 1995-Jan 1996
lazz Calendar On Pages 4-5 Covering lazzEvents in NENY, Mass. and The Hudson Valley Eighth Season Ends, Planning Trip to New for New Season Begins Orleans Finalized It was a great season. We the music. Next year, you gotta We started early this year in our Presented Antonio Hart, ]oe try it! plans for a week's trip to New Lovano, Bobby Sanabria, Orleans for the Jazz andHeri- Madeline Eastman and New ldeas tage Festival. Plans include a BluesWing. In every concert We did some new things this Thursday thru Tuesday trip there were glorious surprises. In year that also worked out well. 25 thru 29. T ake a every concert there were things We had volunteers taking names April Ap.il to treasure. Congratulations to and addresses to add to our look at the description and form the volunteers who picked the mailing list. We had our first on page...... We need confirma- season and ran it. lazz Garden Party to raise tion by December 10, 1995. We'll money for our educational call those of you who already The Secret Season programs. We also recruited new expressed interest to confirm. One of the most wonderful parts volunteers to write for the If you're interested fill out the of the season, was the Saturday newsletter, help out with hospi- form immmediately or call. The workshops. It was designed for tality for the musicians and to trip is definitely on. It's only a musicians and aspiring musi- help us develop a curriculum for matter of how many are going. -
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. -
Michael Jackson the Perform a N C
MICHAEL JACKSON 101 THE PERFORMANCES MICHAEL JACKSON 101 THE PERFORMANCES &E Andy Healy MICHAEL JACKSON 101 THE PERFORMANCES . Andy Healy 2016 Michael gave the world a wealth of music. Songs that would become a part of our collective sound track. Under the Creative Commons licence you are free to share, copy, distribute and transmit this work with the proviso that the work not be altered in any way, shape or form and that all And for that the 101 series is dedicated to Michael written works are credited to Andy Healy as author. This Creative Commons licence does not and all the musicians and producers who brought the music to life. extend to the copyrights held by the photographers and their respective works. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. This special Performances supplement is also dedicated to the choreographers, dancers, directors and musicians who helped realise Michael’s vision. I do not claim any ownership of the photographs featured and all rights reside with the original copyright holders. Images are used under the Fair Use Act and do not intend to infringe on the copyright holders. By a fan for the fans. &E 101 hat makes a great performance? Is it one that delivers a wow factor? W One that stays with an audience long after the houselights have come on? One that stands the test of time? Is it one that signifies a time and place? A turning point in a career? Or simply one that never fails to give you goose bumps and leave you in awe? Michael Jackson was, without doubt, the consummate performer. -
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. -
Songs by Artist
DJU Karaoke Songs by Artist Title Versions Title Versions ! 112 Alan Jackson Life Keeps Bringin' Me Down Cupid Lovin' Her Was Easier (Than Anything I'll Ever Dance With Me Do Its Over Now +44 Peaches & Cream When Your Heart Stops Beating Right Here For You 1 Block Radius U Already Know You Got Me 112 Ft Ludacris 1 Fine Day Hot & Wet For The 1st Time 112 Ft Super Cat 1 Flew South Na Na Na My Kind Of Beautiful 12 Gauge 1 Night Only Dunkie Butt Just For Tonight 12 Stones 1 Republic Crash Mercy We Are One Say (All I Need) 18 Visions Stop & Stare Victim 1 True Voice 1910 Fruitgum Co After Your Gone Simon Says Sacred Trust 1927 1 Way Compulsory Hero Cutie Pie If I Could 1 Way Ride Thats When I Think Of You Painted Perfect 1975 10 000 Maniacs Chocol - Because The Night Chocolate Candy Everybody Wants City Like The Weather Love Me More Than This Sound These Are Days The Sound Trouble Me UGH 10 Cc 1st Class Donna Beach Baby Dreadlock Holiday 2 Chainz Good Morning Judge I'm Different (Clean) Im Mandy 2 Chainz & Pharrell Im Not In Love Feds Watching (Expli Rubber Bullets 2 Chainz And Drake The Things We Do For Love No Lie (Clean) Wall Street Shuffle 2 Chainz Feat. Kanye West 10 Years Birthday Song (Explicit) Beautiful 2 Evisa Through The Iris Oh La La La Wasteland 2 Live Crew 10 Years After Do Wah Diddy Diddy Id Love To Change The World 2 Pac 101 Dalmations California Love Cruella De Vil Changes 110 Dear Mama Rapture How Do You Want It 112 So Many Tears Song List Generator® Printed 2018-03-04 Page 1 of 442 Licensed to Lz0 DJU Karaoke Songs by Artist -
Stations Monitored
Stations Monitored 10/01/2019 Format Call Letters Market Station Name Adult Contemporary WHBC-FM AKRON, OH MIX 94.1 Adult Contemporary WKDD-FM AKRON, OH 98.1 WKDD Adult Contemporary WRVE-FM ALBANY-SCHENECTADY-TROY, NY 99.5 THE RIVER Adult Contemporary WYJB-FM ALBANY-SCHENECTADY-TROY, NY B95.5 Adult Contemporary KDRF-FM ALBUQUERQUE, NM 103.3 eD FM Adult Contemporary KMGA-FM ALBUQUERQUE, NM 99.5 MAGIC FM Adult Contemporary KPEK-FM ALBUQUERQUE, NM 100.3 THE PEAK Adult Contemporary WLEV-FM ALLENTOWN-BETHLEHEM, PA 100.7 WLEV Adult Contemporary KMVN-FM ANCHORAGE, AK MOViN 105.7 Adult Contemporary KMXS-FM ANCHORAGE, AK MIX 103.1 Adult Contemporary WOXL-FS ASHEVILLE, NC MIX 96.5 Adult Contemporary WSB-FM ATLANTA, GA B98.5 Adult Contemporary WSTR-FM ATLANTA, GA STAR 94.1 Adult Contemporary WFPG-FM ATLANTIC CITY-CAPE MAY, NJ LITE ROCK 96.9 Adult Contemporary WSJO-FM ATLANTIC CITY-CAPE MAY, NJ SOJO 104.9 Adult Contemporary KAMX-FM AUSTIN, TX MIX 94.7 Adult Contemporary KBPA-FM AUSTIN, TX 103.5 BOB FM Adult Contemporary KKMJ-FM AUSTIN, TX MAJIC 95.5 Adult Contemporary WLIF-FM BALTIMORE, MD TODAY'S 101.9 Adult Contemporary WQSR-FM BALTIMORE, MD 102.7 JACK FM Adult Contemporary WWMX-FM BALTIMORE, MD MIX 106.5 Adult Contemporary KRVE-FM BATON ROUGE, LA 96.1 THE RIVER Adult Contemporary WMJY-FS BILOXI-GULFPORT-PASCAGOULA, MS MAGIC 93.7 Adult Contemporary WMJJ-FM BIRMINGHAM, AL MAGIC 96 Adult Contemporary KCIX-FM BOISE, ID MIX 106 Adult Contemporary KXLT-FM BOISE, ID LITE 107.9 Adult Contemporary WMJX-FM BOSTON, MA MAGIC 106.7 Adult Contemporary WWBX-FM -
UPDATED COMMUNITY RELATIONS PLAN WATERVLIET ARSENAL, Watervliet, New York
FINAL UPDATED COMMUNITY RELATIONS PLAN WATERVLIET ARSENAL, Watervliet, New York RCRA FACILITY INVESTIGATIONS AND CORRECTIVE MEASURES AT SIBERIA AREA AND MAIN MANUFACTURING AREA Baltimore Corps of Engineers Baltimore, Maryland Prepared by: Malcolm Pirnie, Inc. 15 Cornell Road Latham, New York 12110 October 2000 0285-701 TABLE OF CONTENTS Page 1.0 INTRODUCTION AND BACKGROUND...........................................................1-1 1.1 Site Location.................................................................................................1-3 1.2 Site History...................................................................................................1-3 1.3 Environmental Studies....................................................................................1-6 2.0 COMMUNITY BACKGROUND..........................................................................2-1 2.1 Community Demographics and Employment...................................................2-1 2.2 Community Involvement History....................................................................2-4 2.3 Community Interview Program.......................................................................2-7 2.4 Community Issues and Concerns .................................................................2-16 2.5 Technical Assistance Grants.........................................................................2-18 3.0 COMMUNITY RELATIONS PROGRAM............................................................3-1 3.1 Goals and Objectives ....................................................................................3-1 -
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. -
Grace Christian School 2014-2015
GRACE CHRISTIAN SCHOOL 2014-2015 STUDENT HANDBOOK 104 Kocher Drive Bennington, Vermont 05201 (802) 447-2233 www.gracechristianvt.org - 1 - Table of Contents General Information Page Grace Christian School Mission Statement/School Verse 4 School Calendar 2013-2014 5 Believers’ Pledges: American and Christian flag, and Bible 6 Statement of Faith 7 Philosophy of Education Biblical Morality Statement Annual Pledge Of Commitment Student Pledge 8 Parent Pledge 9 School Focus 10 Spiritual Growth Personal Responsibility Community Service General Academic Policies Family Responsibilities 11 Personal Responsibilities of Students 11 International Students 11 Grading Policies 12 Honor Roll 12 Homework 12 Late Homework 13 Make-up Work 13 Add/Drop Course Policy 13 Semester Exams 13 Standardized Testing 14 Progress Reports and Report Cards 14 Parent/Teacher Conferences 14 Academic Probation 14 Academic Dismissal 14 Promotion Of Students 15 Guidance Department 15 Minimum Requirements for Graduation 15 Independent Study Policy 16 National Honor Society 17 Valedictorian/Salutatorian 17 Daily School Life Attendance, Absence and Lateness 18 Band 18 Before And After School 19 Book Clubs 19 Cafeteria Program 19 Meal Ticket Purchase Options 20 Change Of Address/Phone Numbers 20 Choir 20 Class Advisors 20 - 2 - Classroom Pass 20 Contacting Faculty And Administrators 20 Copier 21 Criticism and Communication 21 Diversity Statement 22 Dress Code 22 Early Dismissal 25 Electives 25 Field Trips 25 Fire Drills 25 GCS Corporation 26 Gymnasium 26 Health Issues 26 First -
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.