The 45 King Presents the Flavor Unit Mp3, Flac, Wma

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The 45 King Presents The Flavor Unit mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Presents The Flavor Unit Country: US Released: 1990 MP3 version RAR size: 1980 mb FLAC version RAR size: 1579 mb WMA version RAR size: 1530 mb Rating: 4.5 Votes: 228 Other Formats: MIDI TTA AC3 MP2 VOX AU MP3 Tracklist Hide Credits Flavor Unit Assassination Squad A1 –The Flavor Unit Featuring – Apache, Double J , Lakim Shabazz, Lord Alibaski, 9:04 Queen Latifah A2 –Lord Alibaski Lyrics In Motion 4:09 A3 –Apache I Feel Like Flowing 4:05 A4 –Lord Alibaski Top Gun 4:16 B1 –Lakim Shabazz & Apache Passin’ The Mike 3:58 What It Takes To Be A Rapper B2 –Lord Alibaski 3:46 Co-producer – The Mighty Maestro Hands Of Fate 3 –Lakim Shabazz 4:23 Producer – Lakim Shabazz Crunch Time B4 –Lord Alibaski 4:10 Producer – The Mighty Maestro B5 –Apache Smooth Yet Hard 5:14 Credits Producer – The 45 King (tracks: 1 to 6, 9) Barcode and Other Identifiers Barcode: 0 4861-20568-4 8 Other versions Category Artist Title (Format) Label Category Country Year Presents The Flavor Unit TUF LP 0568 The 45 King Tuff City TUF LP 0568 US 1990 (LP, Comp) Presents The Flavor Unit TUF CD 0568 The 45 King Tuff City TUF CD 0568 US 1990 (CD, Comp) Queen Latifah & The Queen Latifah Original Flavor Unit* - The Ol' Skool OSF LP 4007 & The Original OSF LP 4007 US 1996 Original Flavor Unit (LP, Flava Flavor Unit* Comp, RE) Queen Latifah & The Queen Latifah Original Flavor Unit* - The Ol' Skool OSF CD 4007 & The Original OSF CD 4007 US 1996 Original Flavor Unit (CD, Flava Flavor Unit* Comp, RE) Related Music albums to Presents The Flavor Unit by The 45 King Original Flavor - Key Cuts From The Album Beyond Flavor The 45 King & Louie Louie - Rhythmical Madness Queen Latifah - Nature Of A Sista' Various - Electro Sessions What's The Flavor? - Twelve Inch Lord Alibaski - Lyrics In Motion / Top Gun DJ Poska - Classic Hip Hop Flavor The 45 King - The 900 Number EP.

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The 45 King the 900 Number EP Mp3, Flac, Wma
The 45 King The 900 Number EP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: The 900 Number EP Country: US Released: 1992 MP3 version RAR size: 1844 mb FLAC version RAR size: 1779 mb WMA version RAR size: 1189 mb Rating: 4.2 Votes: 935 Other Formats: ADX APE VOX MP2 ASF MIDI MMF Tracklist Hide Credits A1 The 900 Number (Original Mix) The 900 Number (45 King Remix) A2 Remix – The 45 King The 900 Number (Lakim Shabazz Acappella Vocal) A3 Rap [Featuring] – Lakim Shabazz The 900 Number (Ced Gee Remix 1) B1 Remix – Ced Gee The 900 Number (Ced Gee Remix 2) B2 Remix – Ced Gee The 900 Number (Ced Gee Remix 3) B3 Remix – Ced Gee The 900 Number (YZ Acappella Vocal) B4 Rap [Featuring] – YZ Credits Artwork By [Cover Design] – Rick Dehaan Photography [Cover] – Dianora Niccolini Written-By – A. Hill* (tracks: B4), L. Welch* (tracks: A3), M. James* (tracks: A1, A2, B1 to B3) Notes ℗© 1988, 1989, 1991 Tuff City Records Publisher: Street Tuff Tunes (ASCAP) Blue labels / picture sleeve Runout grooves: TUF 3001-A EP (Side A) TUF EP 3001-B (Side B) Europadisk DMM (Both sides) 5-3 (Both sides) Barcode and Other Identifiers Barcode: 0 4861-23001-1 8 Other versions Category Artist Title (Format) Label Category Country Year The 900 Number EP (12", TUF EP 3001 The 45 King Tuff City TUF EP 3001 US Unknown EP, RE, Unofficial) The 900 Number EP (12", TUF EP 3001 The 45 King Tuff City TUF EP 3001 US 1992 EP) TUF EP 3001 The 45 King The 900 Number EP (12") Tuff City TUF EP 3001 US 1992 The 900 Number EP (CD, TUF CD 3001 The 45 King Tuff City TUF CD 3001 US 1991 EP) TUF 128028-R The 45 King The 900 Number (12") Tuff City TUF 128028-R US 1992 Comments about The 900 Number EP - The 45 King great ant The YZ Acapella track, (i wonder why this was apparently released only as an acapella and never as a complete track) is a very catchy acapella rap that has been sampled many times in hardcore/gabber tracks.
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Keyfinder V2 Dataset © Ibrahim Sha'ath 2014
KeyFinder v2 dataset © Ibrahim Sha'ath 2014 ARTIST TITLE KEY 10CC Dreadlock Holiday Gm 187 Lockdown Gunman (Natural Born Chillers Remix) Ebm 4hero Star Chasers (Masters At Work Main Mix) Am 50 Cent In Da Club C#m 808 State Pacifc State Ebm A Guy Called Gerald Voodoo Ray A A Tribe Called Quest Can I Kick It? (Boilerhouse Mix) Em A Tribe Called Quest Find A Way Ebm A Tribe Called Quest Vivrant Thing (feat Violator) Bbm A-Skillz Drop The Funk Em Aaliyah Are You That Somebody? Dm AC-DC Back In Black Em AC-DC You Shook Me All Night Long G Acid District Keep On Searching G#m Adam F Aromatherapy (Edit) Am Adam F Circles (Album Edit) Dm Adam F Dirty Harry's Revenge (feat Beenie Man and Siamese) G#m Adam F Metropolis Fm Adam F Smash Sumthin (feat Redman) Cm Adam F Stand Clear (feat M.O.P.) (Origin Unknown Remix) F#m Adam F Where's My (feat Lil' Mo) Fm Adam K & Soha Question Gm Adamski Killer (feat Seal) Bbm Adana Twins Anymore (Manik Remix) Ebm Afrika Bambaataa Mind Control (The Danmass Instrumental) Ebm Agent Sumo Mayhem Fm Air Sexy Boy Dm Aktarv8r Afterwrath Am Aktarv8r Shinkirou A Alexis Raphael Kitchens & Bedrooms Fm Algol Callisto's Warm Oceans Am Alison Limerick Where Love Lives (Original 7" Radio Edit) Em Alix Perez Forsaken (feat Peven Everett and Spectrasoul) Cm Alphabet Pony Atoms Em Alphabet Pony Clones Am Alter Ego Rocker Am Althea & Donna Uptown Top Ranking (2001 digital remaster) Am Alton Ellis Black Man's Pride F Aluna George Your Drums, Your Love (Duke Dumont Remix) G# Amerie 1 Thing Ebm Amira My Desire (Dreem Teem Remix) Fm Amirali
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WHAT IS HIP HOP? the Four Elements of Hip Hop Hip Hop Is Music — and a Culture, Encompassing Speech, Styles of Dress, Art
WHAT IS HIP HOP? The Four Elements of Hip Hop Hip hop is music — and a culture, encompassing speech, styles of dress, art, poetry and dancing, as well as "rapping." Purists have narrowed the major components of the culture into four loosely defined categories: deejaying, emceeing, breaking and graffiti art. Deejaying Jamaican immigrant Kool Herc, inspired by the “dubbing” and “toasting” from his native home, is credited with introducing deejaying to New York. Early New York DJs improvised, using a pair of turntables as a makeshift instrument when funding for school music programs were cut. Later Afrika Bambataa evolved the art of deejaying. MCing, or Emceeing MCs have become a centralized figure in hip hop. Commercially, MCs are known as rappers. During hip hop’s early days, MCs played a supporting role, accompanying the deejay and carrying crates of records. They used a microphone to talk over breakbeats and publicize their own neighborhoods while the deejay spun records. As competition for this position increased, MCs engaged in one-upmanship, boasting of their greatness in the face of inner city economic despair. Breaking Also known as b-boying, the dances that accompany the music have many influences. Kids in diverse New York neighborhoods were exposed to Eastern martial arts, tap dancing, gymnastics, salsa, Afro-Cuban and Native American dances. In the late ‘90’s b-boys and b- girls integrated moves from capoeira, a 16th century fighting dance developed by Brazilian slaves preparing for resistance. Graffiti Urban graffiti, using spray cans to create stylized murals and “tags” to create art in public spaces, gave kids a means of self-expression and a chance to spread political messages.
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JAY-Z in Conversation with Cornel West and Paul Holdengräber
JAY-Z In Conversation with Cornel West and Paul Holdengräber November 15, 2010 LIVE from the New York Public Library www.nypl.org/live Celeste Bartos Forum PAUL HOLDENGRÄBER: Good evening, good evening, good evening. Are we excited? No, are we excited? No, are we very excited? Yes! Well, I’m very happy that you’re excited because boy oh boy am I am ever excited! My name is Paul Holdengräber, and I’m the Director of LIVE from the New York Public Library. You have heard me say that my goal at the Library is to make the lions roar. Well, guess what? Tonight my goal is to make the lions rap! Last time we were here we had Keith Richards here at the library. It’s a great honor tonight to have Jay-Z, (applause) and as far as I’m concerned LIVEJay-Z_11.15TranscriptQUERIES 1 there’s a great—there’s a great continuity here, partly because there is continuity, partly because Jay-Z has been around for twenty years and Keith Richards has stood his own as well. So the library is roaring, we’re making it live, we’re making it come alive. We’re making the books dance, we’re making a heavy institution levitate and as I always ask, I’ve asked now for six years, if anybody in this building knows how much this library weighs, please tell me. I would like to encourage you all to join our e-mail list, to become members of the library, to find out what we have coming up, for instance on Thursday we have Siddhartha Mukherjee coming talking about a biography of cancer.
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Glosario Hip-Hop
NOTAS SOBRE CULTURA NEGRA EN UNA AMERICA BLANCA Y ALGUNOS TEMAS AFINES Por Anki Toner Texto publicado originalmente el las páginas 13 a 41 del libro “Hip-Hop” (Anki Toner, Hip-Hop, Celeste Ediciones, 1998). A pesar de que el libro lleva la preceptiva marca de copyright, tanto del autor (por el texto) como de la editorial (por la edición), Anki Toner renuncia expresamente al copyright de este glosario. Cualquier parte de él puede ser tomada, usada, modificada e incluso tergiversada libremente. Ignoro qué pensarán en la editorial (contra la que no tengo nada) de esto y, la verdad, tampoco me importa mucho. Africa: La importancia de la herencia africana en la cultura negroamericana ha sido olvidada o subvalorada con demasiada frecuencia. Algunas tradiciones han sobrevivido hasta finales del siglo XX a través de cuatrocientos años de esclavitud, primero, y de negación sistemática de los orígenes, después. Por ejemplo, el baile en círculo, con los solistas relevándose para salir de uno en uno al centro del corro, ha llegado hasta el breakdance esquivando todos los bailes corales de importación europea (polkas y demás) que impregnan la tradición americana (blanca). Otros ejemplos comunmente citados son las blue note del jazz y el blues, o las respuestas de los espirituales y gospels. Como indica J.S. Roberts, "el sermon 'espiritual' normalmente empieza en tono conversacional, diferenciado de los sermones negros sólo por las respuestas de la congregación, reminiscentes de la vieja creencia africana que es descortés escuchar en silencio, sin respuestas, o de las interjecciones hechas durante la narración de leyendas tradicionales por parte del griot."(1) Afrocentrismo: Cuando la capacidad económica de la población negra le ha permitido tener acceso a la educación y a la cultura, se ha puesto de manifiesto que la cultura blanca no encaja, en muchos casos, con la propia percepción del mundo.
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Over 1000 Breakbeat List
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HERE`S a LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the Late 70S to 1990
JEE-NICE PRESENTS: HERE`S A LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the late 70s to 1990. Enjoy & spread the word! This Booklet is dedicated to all the ladies who rock da mike and spin the turntables. This copied fan-mag tries to discover the story of female hiphop activity from the beginning of hiphop culture in the late 70s to 1990. There is a cut in 1990. It was difficult to draw that line, to decide which artists to include and which not. Yo Yo, Queen Mother Rage, Sister Souljah, BWP, Conscious Daughters are not in it because they are more 90s then 80s. Nikki D, Tairrie B. and L.A. Star are on the edge, but I included them, because they are more 80s. What I did was to collect all the lyrics and pictures, which I could find and republish facts which are important for making history. I didn’t want to write anything new, I wanted to collect, to see what you can find out (in Germany), if you want to. In the end it’s not much and nothing that was published in the german language. You will find the source material in an appendix, so that you can check out where it comes from and read more, if you want to. Pictures without numbers are from my own record collection. This compilation can’t be complete and some facts will be wrong, but I have tried to make it as accurate as I can.
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A Fantasy Theme Analysis of Music Videos That Break the Genre Convention
Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2018 Think Outside the Music Video: A Fantasy Theme Analysis of Music Videos that Break the Genre Convention Kimberly Danielle Martinez [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Recommended Citation Martinez, Kimberly Danielle, "Think Outside the Music Video: A Fantasy Theme Analysis of Music Videos that Break the Genre Convention" (2018). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 102. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Typically, music videos fulfill an entertainment purpose, but this Master’s thesis is dedicated to a rhetorical analysis of two music videos that fulfill a greater purpose. I studied two music videos that break the music video genre mold because each one is centered on two societal issues that would be distressing to discuss in other contexts. The first artifact I studied is Eminem’s music video for “Stan,” which highlights the issue of idolization and fandom. The research question that guided this analysis is: How can a rhetor utilize music videos to illustrate the consequences of idolization and fandom? The second artifact I studied is Lindsay Lohan’s music video for “Confessions of a Broken Heart (Daughter to Father),” which highlights the issue of domestic abuse. The research question that guided my analysis is: How can a rhetor utilize music videos to illustrate the complexity of domestic abuse? Both artists used their personal experiences with the accompanying issue to craft their unique music video.
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Diary Mix Tracklist
Diary Mix Tracklist INTRO – 1979 to 1987 Sugarhill Gang – Rapper’s Delight (1979) The Sequence – Funk You Up (1979) Spoonie Gee Meets The Sequence – Monster Jam (1979) Fatback – King Tim III (Personlaity Jock) (1979) Sugarhill Gang – 8th Wonder (1980) Kurtis Blow – The Breaks (1980) Arka Bambaataa and the Jazzy 5 – Jazzy Sensation (1981) Grandmaster Flash – The Adventures Of Grandmaster Flash On The Wheels of Steel (1981) Blondie – Rapture (1981) Afrika Bambaataa And The Soul Sonic Force – Looking For The Perfect Beat (1982) Masterdon Committee – Funk Box Party (1982) Man Parrish – Hip Hop Be Bop (Don’t Stop) (1983) Run DMC – It’s Like That (1983) Art Of Noise – Beatbox (1983) Double Dee And Steinski – Play That Beat Mr DJ (Lesson 1: Payo Mix) (1983) Run DMC – Sucker MCs (1983) Newcleus – Jam On It (1984) Doug E Fresh And The Get Fresh Crew – The Show (1985) Whistle – (Nothing Serious) Just Buggin (1985) Eric B Featuring Rakim – Eric B Is President (1986) Run DMC – Peter Piper (1986) Epee MD – It’s My Thing (1987) Big Daddy Kane – Raw (1987) BDP – D Nice Rocks The House (1987) Eric B And Rakim – I Know You Got Soul (Double Trouble Remix) (1987) BDP – South Bronx (1987) 1988 1989 BDP - Jimmy EPMD – So Watcha Sayin BDP – Still Number 1 BDP feat D Nice – And You Don’t Stop Sweet Tee & Jazzy Joice – It’s My Beat Def Jef – Black To The Future Audio 2 – Top Billin Nice and Smooth – More And More Hits NWA – Compton’s In The House (Remix) LL Cool J – Droppin Em BDP – Stop The Violence Special Ed – Got It Made Marley Marl – The Symphony (Remix)
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A TYPOLOGY of SAMPLING in HIP-HOP Amanda Sewell Submitted to the Faculty of the University Graduate School in Partial Fulfillmen
A TYPOLOGY OF SAMPLING IN HIP-HOP Amanda Sewell Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Musicology Department of the Jacobs School of Music Indiana University May 2013 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ___________________________________ J. Peter Burkholder, Ph.D. ___________________________________ Phil Ford, Ph.D. ___________________________________ Daniel R. Melamed, Ph.D. ___________________________________ Kyle Adams, Ph.D. Dissertation defended April 25, 2013 ii © 2013 Amanda Sewell iii ACKNOWLEDGEMENTS First and foremost, I am unspeakably grateful to the members of my dissertation committee. J. Peter Burkholder, Phil Ford, and Daniel R. Melamed spent countless hours advising, counseling, challenging, and encouraging me throughout this project. These advisors not only supported me with the research but also with many dimensions of my professional life. I feel incredibly blessed to have had so many people care about my work and me so much. I also thank my outside reader, Kyle Adams, for his perceptive comments and bottomless knowledge of the repertoire. The remaining members of the Indiana University Musicology Department supported me in a variety of ways during my time as a graduate student, so I am indebted to Halina Goldberg, Michael Long, Kristina Muxfeldt, Massimo Ossi, and Ayana Smith. Thanks also go to Fernando Orejuela of the folklore department and to Portia Maultsby of the ethnomusicology department for their feedback on various stages of this project and other hip- hop endeavors. To my fellow hip-hop scholars Loren Kajikawa, Mark Katz, the late Adam Krims, Felicia Miyakawa, Joe Schloss, and Justin Williams: I am so grateful for your time, feedback, and support on this project, and I am honored that you have welcomed me into your community.
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Icons of Hip Hop: an Encyclopedia of the Movement, Music, and Culture, Volumes 1 & 2
Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture, Volumes 1 & 2 Edited by Mickey Hess Greenwood Press ICONS OF HIP HOP Recent Titles in Greenwood Icons Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares Edited by S.T. Joshi Icons of Business: An Encyclopedia of Mavericks, Movers, and Shakers Kateri Drexler ICONS OF HIP HOP An Encyclopedia of the Movement, Music, And Culture VOLUME 1 Edited by Mickey Hess Greenwood Icons GREENWOOD PRESS Westport, Connecticut . London Library of Congress Cataloging-in-Publication Data Icons of hip hop : an encyclopedia of the movement, music, and culture / edited by Mickey Hess p. cm. – (Greenwood icons) Includes bibliographical references, discographies, and index. ISBN-13: 978-0-313-33902-8 (set: alk. paper) ISBN-13: 978-0-313-33903-5 (vol 1: alk. paper) ISBN-13: 978-0-313-33904-2 (vol 2: alk. paper) 1. Rap musicians—Biography. 2. Turntablists—Biography. 3. Rap (Music)—History and criticism. 4. Hip-hop. I. Hess, Mickey, 1975– ML394. I26 2007 782.421649'03—dc22 2007008194 British Library Cataloguing in Publication Data is available. Copyright Ó 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007008194 ISBN-10: 0-313-33902-3 (set) ISBN-13: 978-0-313-33902-8 (set) 0-313-33903-1 (vol. 1) 978-0-313-33903-5 (vol. 1) 0-313-33904-X (vol. 2) 978-0-313-33904-2 (vol.
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Journal of the Society for American Music Paul's Boutique and Fear of A
Journal of the Society for American Music http://journals.cambridge.org/SAM Additional services for Journal of the Society for American Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Paul's Boutique and Fear of a Black Planet: Digital Sampling and Musical Style in Hip Hop AMANDA SEWELL Journal of the Society for American Music / Volume 8 / Issue 01 / February 2014, pp 28 - 48 DOI: 10.1017/S175219631300059X, Published online: 12 March 2014 Link to this article: http://journals.cambridge.org/abstract_S175219631300059X How to cite this article: AMANDA SEWELL (2014). Paul's Boutique and Fear of a Black Planet: Digital Sampling and Musical Style in Hip Hop . Journal of the Society for American Music, 8, pp 28-48 doi:10.1017/ S175219631300059X Request Permissions : Click here Downloaded from http://journals.cambridge.org/SAM, IP address: 129.79.13.20 on 30 Jul 2014 Journal of the Society for American Music (2014), Volume 8, Number 1, pp. 28–48. C The Society for American Music 2014 doi:10.1017/S175219631300059X Paul’s Boutique and Fear of a Black Planet: Digital Sampling and Musical Style in Hip Hop AMANDA SEWELL Abstract The Beastie Boys’ Paul’s Boutique (1989) and Public Enemy’s Fear of a Black Planet (1990) often draw comparisons because of their profuse and eclectic use of digital sampling. These two hip hop albums, however, use sampling in markedly different ways, a fact that is obscured because no well-developed language exists to differentiate how and why their sampling styles differ.
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