Tricky, Keep Your Mouth Shut

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Tricky, Keep Your Mouth Shut ( Massive attack ) (vowles, del naja, marshall, thaws, norfolk, locke) Tricky You sure you want to be with me I've nothing to give Wwon't lie and say this lovin's best Leave us in emotional peace Take a walk, taste the rest No, take a rest 3D I see you digging a hole in your neighborhood You're crazy but you're lazy No need to live in a lean-to Your troubles must be seen to seen to Money like it's paper with faces i remember I drink on a daily basis Though it seldom cools my temper It never cools my temper Tricky Walking through the suburbs though not exactly lovers You're a couple, 'specially when your body's doubled Duplicate, then you wait for the next kuwait (both) Karmacoma, jamaica an' roma (x4) 3D You sure you want to be with me i've nothing to give Take a walk take a rest taste the rest(x2) Take a walk take a rest a taste of rest Tricky Don't want to be on top of your list Phenomenally and properly kissed We overcome in sixty seconds With the strength we have to together But for now, emotional ties they stay severed When there's trust there'll be treats And when we funk we'll hear beats (both) Karmacoma, jamaica an' roma (x4) 3D Deflowering my baby, are you my baby mate I must be crazy, see i'm swazy Digging a hole in your neighborhood You're crazy but you're lazy, must be lazy Tricky Don't wanna on top of your list Monopoly and properly kissed 3D Deflowering my baby, are you my baby mate My baby Deflowering my baby, are you my baby mate I must be crazy, you must be lazy (both) Karmacoma, what?, jamaica an' roma (x4) Tricky - Keep Your Mouth Shut w Teksciory.pl.

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Massive Attack, Karmacoma [Tricky]
Massive Attack, Karmacoma [Tricky] You sure you want to be with me I've nothing to give Wont lie and say this lovin's best Well leave us in emotional pace Take a walk, taste the rest No, take a rest [3D] I see you digging a hole in your neighborhood Youre crazy but youre lazy I need to live and I need to Your troubles must be seen to see through Money like it's paper with faces i remember I drink on a daily basis Though it subtle cools my temper It never cools my temper [Tricky] Walking through the suburbs though not exactly lovers Youre a couple, 'specially when your bodys doubled Duplicate, then you wait for the next kuwait [Tricky & 3D] Karmacoma, jamaica' aroma [x4] [3D] You sure you want to be with me ive nothing to give Take a walk take a rest taste the rest Take a walk take a rest taste the rest Take a walk take a rest a taste of rest [Tricky] Don't want to be on top of your list Monopoly and properly kissed We overcome in sixty seconds With the strength we have to together But for now, emotional ties they stay severed When theres trust therell be treats And when we funk we'll hear beats [Tricky & 3D] Karmacoma, jamaica' aroma [x4] [3D] Deflowering my baby, aiyee my baby me I must be crazy, see i'm swazy Digging a hole in your neighborhood You're crazy but you're lazy, must be lazy [Tricky] Don't wanna on top of your list Monopoly and properly kissed [3D] Deflowering my baby, aiyee my baby me My baby Deflowering my baby, aiyee my baby me I must be crazy, you must be lazy [Tricky & 3D] Karmacoma, what?, jamaica aroma [x4] Massive Attack - Karmacoma w Teksciory.pl.
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Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
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Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
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FEMALE UTOPIAS BEFORE HERLAND by PAMELA TALLEY STINSON Bachelor of Education Northeastern State Universi
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Quentin Couldn't
The Arts and Entertainment Supplement to the Daily Nexus, for April 13th through April 19th. 1995 Quentin couldn't: make it, but we got the inside scoop» on Destiny- Turns on tJie Ftedio from his co-stars Dylan McDermott and Nancy Travis, along with director Jack Bar an. See pages 4A-5A. 2A Thursday, April 13,1993 Daily Nexus bars of cage / you see scars, much ease — thus “Strug results of my rage.” That’s glin’,” tire soul food, hip- another thing about this hop blues, demi-epic of debut album. In Tricky’s the album. (The “epic” Massive and Unparalleled world, everything is a cage, track would probably be without any hope of re the seven-minute exten prieve. Even love is a sti sion of their first single, T ricky posedly one of 'fricky’s landic woman named any of them out from the fling, repressive activity “Aftermath.”) Amid creak M axinquaye nonsense words, sort of Ragga (again, no last scrapyard beats, hip-hop and sex is the violent ing doors, screeching 4th S t Broadway/I gland based around the name of name) and Alison Gold- breaks, soul slides and means of expressing one’s saxes, cocking rifles and his mother. frapp, who was most re thick, dark atm osphere anger. ambulance wails, Tricky This is almost too dense While we’re on names, cently heard on Orbital’s that just oozes out all over Witness “Abbaon Fat mutters like a junkie com a record for one head to Tricky’s real one is Adrian last album.
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Mark Fisher Goldsmiths, University of London / University of East London (UK)
The Metaphysics of Crackle: Afrofuturism and Hauntology Feature Article Mark Fisher Goldsmiths, University of London / University of East London (UK) Abstract There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro- time of postmodernity. The emergence of a 21st century sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition. Keywords: Hauntology, Afrofuturism, dub, phonography, rockism Mark Fisher is the author of Capitalist Realism (2009) and the forthcoming Ghosts Of My Life: Writings on Depression, Hauntology and Lost Futures. His writing has appeared in many publications, including The Wire, Frieze, The Guardian and Film Quarterly. He is Programme Leader of the MA in Aural and Visual Cultures at Goldsmiths, University of London and a lecturer at the University of East London. Dancecult: Journal of Electronic Dance Music Culture 5(2): 42–55 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2013.05.02.03 Fisher | The Metaphysics of Crackle 43 [In] “Phonograph Blues” . Johnson sings, with too much emotion it seems, about his broken record player.
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Powder Methods Handout
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New Album Reviews
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Voyages Towards Utopia: Mapping Utopian Spaces in Early-Modern French Prose
Voyages Towards Utopia: Mapping Utopian Spaces in Early-Modern French Prose By Bonnie Griffin Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in French Literature March 31st, 2020 Nashville, TN Approved: Holly Tucker, PhD Lynn Ramey, PhD Paul Miller, PhD Katherine Crawford, PhD DEDICATIONS To my incredibly loving and patient wife, my supportive family, encouraging adviser, and dear friends: thank you for everything—from entertaining my excited ramblings about French utopia, looking at strange engravings of monsters on maps with me, and believing in my project. You encouraged me to keep working and watched me create my life’s most significant work yet. ii ACKNOWLEDGEMENTS I would like to thank my adviser and mentor Holly Tucker, who provided me with the encouragement, helpful feedback, expert time-management advice, and support I needed to get to this point. I am also tremendously grateful to my committee members Lynn Ramey, Paul Miller, and Katie Crawford. I am indebted to the Robert Penn Warren Center for the Humanities, for granting me the necessary space, time, and resources to prioritize my dissertation. I wish to thank the Department of French and Italian, for taking a chance on a young undergrad. I also wish to acknowledge the Vanderbilt University Special Collections team of archivists and librarians, for facilitating my access to the texts that would substantially inform and inspire my studies, as well as the Beinecke Rare Book and Manuscript Library. I also wish to thank Laura Dossett and Nathalie Debrauwere-Miller for helping me through the necessary processes involved in preparing for my defense.
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WAR GAMES Any Genre Is Somewhat of a Damocles Sword
OFF THE FLOOR OFF THE FLOOR Books, art, movies, etc... Words: KIRSTY ALLISON as anonymous gate-holders to all things trip-hop. much observers of the culture around them as art WAR GAMES Any genre is somewhat of a Damocles sword. The makers. So this feeds into a rich loop of creativity. This new Massive Attack book is well group’s continuing sonic warfare mirrors Bristol’s “Adam Curtis is a BBC documentary film-maker worth investigating... port, bashing with all the waves of the world’s who has challenged television quite deeply. They tides, from slavery to silks, spices and the roots/ first worked together for the 2013 Manchester history of St Pauls. We speak to Melissa Chemam, International Festival. Curtis called it a ‘gilm’: whose encyclopaedic new book Out Of The Comfort gig + film. I’m not sure it fits. The visuals and the Zone has just been translated into English from music create something very special, but it is an her French original. additional layer and, much as Curtis’ messages “For me, Massive Attack are a living organism,” are powerful, overall, it only works because it’s Chemam says. “They emerged as a collective in Massive Attack.” 1988, with 3D, Daddy G and Mushroom, but the group wouldn’t be complete without their guest Punk was an influence on Massive Attack, vocalists. First came Horace Andy, Shara Nelson you say in the book: “In 1980, Bristol was and rapper Tricky. But the latter two left, so particularly sensitive to tensions. On 2nd suddenly the ever-evolving collective became not April, riots erupted in St Pauls, when the police only a concept, but a trademark.
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STEVE HARNELL Catches up with Massive Attack's Robert Del Naja at the Band's Bristol Studios to Get the Lowdown on Their
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MARTINA TOPLEY-BIRD Salle Communale Trip-Hop-Pop /UK 1Ère Partie : Les Sœurs Sol’Am (Electro-Trip-Hop / CH)
L’Association Les Créatives et les Spectacles Onésiens présentent : La 4ème édition du festival les Créatives ! Fidèle au rendez-vous de l’automne, le festival célèbre la création au féminin. Cette année, le programme musical propose de déguster la crème de la nouvelle scène pop et folk internationale, avec des artistes à la fois inspirées et envoûtantes. Au Manège, une exposition d’auteures et dessinatrices de BD, scénographiée par Christian Humbert Droz – des éditions Drozophile - offrira un éclairage singulier et engagé sur le thème de la liberté au prisme des regards féminins… Du 5 au 15.11 Exposition : La Liberté Le Manège Exposition d’auteures et dessinatrices de BD sur le thème de la liberté en collaboration avec le célèbre éditeur/sérigraphe genevois Drozophile. www.drozophile .ch 5.11 ALELA DIANE Folk /USA Salle communale 1ère partie : Heidi Happy (Pop-Folk / CH) 6.11 SUSHEELA RAMAN Salle communale Ethno-Pop /UK-Inde En coproduction avec le Service culturel Migros Genève 1ère partie : Emily Jane White (Folk-Blues / USA) 7.11 MARTINA TOPLEY-BIRD Salle communale Trip-hop-Pop /UK 1ère partie : Les Sœurs Sol’am (Electro-Trip-hop / CH) MERCREDI 5 – SAMEDI 15 NOVEMBRE Exposition « la Liberté » L’exposition est présentée pour la première fois en exclusivité en Suisse Romande après sa création remarquée au festival Fumetto de Lucerne. Parallèlement à ce labyrinthe, seront exposées des planches du magnifique ouvrage de sérigraphies Drozophile (N°7), édité une fois l’an par Christian Humbert-Droz. L’album Drozophile N°7 est sorti à l’occasion du Salon du Livre en avril dernier et sera en vente au prix de 80.- sur place pendant l’exposition.
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