The Hilltop 9-12-1997

Total Page:16

File Type:pdf, Size:1020Kb

The Hilltop 9-12-1997 Howard University Digital Howard @ Howard University The iH lltop: 1990-2000 The iH lltop Digital Archive 9-12-1997 The iH lltop 9-12-1997 Hilltop Staff Follow this and additional works at: https://dh.howard.edu/hilltop_902000 Recommended Citation Staff, Hilltop, "The iH lltop 9-12-1997" (1997). The Hilltop: 1990-2000. 192. https://dh.howard.edu/hilltop_902000/192 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1990-2000 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. ILLTOP ~ It News You Can Use Since 1924 VOLl'\1E 81, No. 3 THE NATION'S LARGEST BLACK COLLEGIATE NEWSPAPER SEPTE!\IBER 12, 1997 THIS Plans To Privatize On-Campus WEEK'S ISSUE Streets Meet Community Opposition By TA•NEIIISI CO>\TF.S ed to rumors that check-points logued with the community about C\MPUS would be established throughout the mauer. Hilltop Staff Writer the campus 10 limit the access of Maybelle Bennell, the liaison HU EMPI.OYEl!S Gq non-Howard students. between the University and the THROUGH On the surface. Howard's appli• "Howard has made a proposal that community. said she "was not cer­ cation 10 the City Council 10 priva- is ludicrous on its face," Guyot said. tain that there was any auempt to CuSTOMER SERVICE tizc several streets that run through "Why should a wall be built contact the ANC." the campus may seem minor. But a between neighbors."' Others were concerned if the CLASS panel discussion held Tuesday by The panel also featured Hazel streets became private, Howard A2 the Howard University Student Edwards, a representative for the would be able to easily arrest stu­ Associa tion .---------, Office of the Vice President of dent protesters. proved other- For More Coverage, the Administration. Tony Nor• But the most divisive issue was CITY wise. See Editorial, AB man. president of the Pleasant security. By the end of Plains Civic Organization and Karen House. assistant 10 the pres­ ~- 0 ISTRIC1 SAr•L\\AY the discussion, '---------' Nik Eames. ANC I B 05 rep­ ident, said there had been an armed the panel as well as the audience resentativc. robbery of a Howard student every ~ GROCER'\ STORl:.S was thoroughly di,•1dcd. Issues Vice-President of Administration week since August 16. While most SFt UP POLICE ranged from how the privmization Harry Robinson is handling the pri- of the student. said they felt priva­ of streets would affect community vatization, but he is in Senegal. tizing the streets would hurt com­ WORK STATIONS relations. campus vending and stu• Edwards represented his office. munity relations. Robert Hall, a dent protests. "Howard is merely asking for the sophomore international business y AS The streets Howard proposes lo right 10 be responsible for our own major was n vocal dissenter. Hall close arc: Girard Street; Fairmont streets." she ,aid. "We are not try­ was in favor of erecting a fence Strcet: Howard Place between ing1ocu101Tthecommunity, we're around campus. NATION Georgia Avenue; and Sixth Street not erecting a barrier ... we're not But Guyot said there are better between Girard. Bryant and Col- pulling the vendors olT campus." ways 10 address security than pri­ lege streets. The University also Edwards said the administration is vatizing streets. which he cal led a wanb 10 privatize several alleys on concerned about security on cam­ "preposterous way 10 provide safe­ campus. pus. and plans 10 designate an area ty for students." Lawerence Guyot. chairman of strictly for vendors and put an infor- Hall objected to the idea that pri­ the Advisory Neighborhood Com- mation booth on campus to help vatizing the streets was sending the mission J B. issued a plea for con- direct visitors. wrong message to the community. sensu,. whi le accusing the Univer- Norman said that even though the "We are very concerned with what sity of "demonizing·· the administrotion did not say it would statements we arc making to the community. close the streets. the power 10 do so community, but there·s another bit Guyot said if Howard privatizes is threatening. of communication that"s happen­ the street\, it would have the power The audience raised numerous ing," Hall said. '"When we have Pho«> by Belinda Vickerson 10 keep community members off concerns. Drew Hall students being beaten The University proposes to block several on-campus streets and the campus under the pretense of Some community members were alleys. Sixth Street from Girard to Bryant streets Is part of the plan. imprO\ ing security. He also allud- upset that Howard had not dia- Please See STREET, A3 Hl STL'DrN rs GFT Bison Lose To JSU \\ALl\.11'iG GI.AR A Family Affair RE \D'I f oR I I1 H District residents packed the Mall k.iNU \L AIDS forthe Natlonal In Close Game Councll of Negro WALK NEXT WEEK Women·s Annual Black Famlly By KARINTIIA W11F~\TON business major at JSU. "I still have A6 Reunion. Dozens goose bumps. I'm not even sure we of Howard st Sports Editor really won." dents volunteered With 5:21 left in the third quarter, for the event. \VORLD La;t week's game against Jackson JSU found the formula to tum the See Story, AS. State University was a see-saw of game in their favor. The team HU PROI·F SSOR thrills for fans on both sides of tile scored a touchdown on a I 0-yard field. run. and the extra point gave the ~IO~ITORS The game on Saturday was close, Tigers a 3-point lead. The Bison but the Bison ended with a heart­ were unable to score on their next ELEC11ONS IN wrenching los~ to JSU with a score possession. and the Tigers were BOSNlA of35-33. able 10 score on the final possession The competition between the two of the third quarter giving them a 9- A7 top-ranked teams glued the fans to point lead going into the final min• their seats. Preceding the game, the utes. Sheridan Poll listed JSU as No. I The Bison tried to steal a victory, FREESTYLE and HU as No. 2 in the ranking of but late in the fourth quarter a 27- Division I-AA Black college foot­ yard field goal aucmpt by freshman PRACTICING ball teams. Howard started the sea­ place-kicker Charles Card was ASCIENT C111NF.SE son as the No. I as the defending blocked. Although JSU was penal­ Blnck National Champions. but ized for being off sides. Card PHILOSOPHIES CAN JSU was able to knock the Bison off missed his second field goal the top by winning their season auempt as his kick sailed wide left REAP BETTER Photos by Chns BeN opener against Alabama State Uni­ from the 22-yarcl line. GRADES, LOVE versity on Aug. 31. ·'You can·, win a game in the last HU led JSU by 3 points (25-22) three minutes," said Keith Tole­ at the half. There was no more than free. a fan from Atlanta. "You have a 4 point lead between the two to play hard ,Ill 48 minutes. Coach StSTERSPACE BOOKS teams until late in the third quarter. Wilson shouldn"t have put that ADDS A BIT MORE ''That was the best game I ever saw:· said Dionne Jackson. a senior Please See GAME, A3 ATMOSPI IERE Ruling Leaves Texas School BI With Fewer Minorities PULSE By LOLLY B OWEAN understanding of the different the university blamed the Hopwood CARIBBEAN ART issues when you leave the univer• ruling for the small amount of Nation Editor sity and enter the real world." minorities admilled this year, EXHIBIT SURVEYS The University of Texas is feeling admissions officers contend there 1 When Kyron Hayes, a law student the gripping effect of the end of were less minority applicants to ~IULTICl LTuRAI.JSM at th.: University ofTexas at Austin. affirmative action programs. Out select from. B2 looks around his classes, he said he ofthe468 students who entered the "A lot of minorities just self-select­ secs a representation of the "real law school this year, four were ed themselves out by not applying." world." Black. It was a dramatic decline said Shelli Soto, a~sistnnt dean for "I sec a broad spectrum of people," compared to the 3 I Black students admissions at the law school. said Hayes. who will graduate next admiucd into last ycar·s clus, of ''That" s a big. big part ofit. We real• SPORTS year. "There arc males, females, 488. ly didn ·t get that many people who Whites, Asian Americans, Mexican The 1992 Hopll'ood ruling abol­ applied." TOMORROW. THE Americans. African Americans - ished race-based preferences in col­ All affinnative action programs at BATTLE BEf\VEEN plenty of diversity." leges and universities throughout the school were ended this year But il is the incoming class that has Texas, after Cheryl Hopwood was because of the Hopwood ruling. THI' RI•AL HU Goes Hayes worried. denied admission to the University Like Proposition 209 in Califor­ "The major lack of di\'ersity is in of Texas. Hopwood claimed she ni,1, it makes all racial preferences DowNONT11r the first-year class," he said. 'Tm was not accepted because several in admissions and hiring against FIELD concerned because if you are not in spots were reserved for minorities. the law. an environment where thei:e arc She won the case. and the ruling "'The ruling does stop us from look- Photo courtesy ol T19ray BS diverse intcr.:sts, views and people.
Recommended publications
  • 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]
  • Jay Brown Rihanna, Lil Mo, Tweet, Ne-Yo, LL Cool J ISLAND/DEF JAM, 825 8Th Ave 28Th Floor, NY 10019 New York, USA Phone +1 212 333 8000 / Fax +1 212 333 7255
    Jay Brown Rihanna, Lil Mo, Tweet, Ne-Yo, LL Cool J ISLAND/DEF JAM, 825 8th Ave 28th Floor, NY 10019 New York, USA Phone +1 212 333 8000 / Fax +1 212 333 7255 14. Jerome Foster a.k.a. Knobody Akon STREET RECORDS CORPORATION, 1755 Broadway 6th , NY 10019 New York, USA Phone +1 212 331 2628 / Fax +1 212 331 2620 16. Rob Walker Clipse, N.E.R.D, Kelis, Robin Thicke STAR TRAK ENTERTAINMENT, 1755 Broadway , NY 10019 New York, USA Phone +1 212 841 8040 / Fax +1 212 841 8099 Ken Bailey A&R Urban Breakthrough credits: Chingy DISTURBING THA PEACE 1867 7th Avenue Suite 4C NY 10026 New York USA tel +1 404 351 7387 fax +1 212 665 5197 William Engram A&R Urban Breakthrough credits: Bobby Valentino Chingy DISTURBING THA PEACE 1867 7th Avenue Suite 4C NY 10026 New York USA tel +1 404 351 7387 fax +1 212 665 5197 Ron Fair President, A&R Pop / Rock / Urban Accepts only solicited material Breakthrough credits: The Calling Christina Aguilera Keyshia Cole Lit Pussycat Dolls Vanessa Carlton Other credits: Mya Vanessa Carlton Current artists: Black Eyed Peas Keyshia Cole Pussycat Dolls Sheryl Crow A&M RECORDS 2220 Colorado Avenue Suite 1230 CA 90404 Santa Monica USA tel +1 310 865 1000 fax +1 310 865 6270 Marcus Heisser A&R Urban Accepts unsolicited material Breakthrough credits: G-Unit Lloyd Banks Tony Yayo Young Buck Current artists: 50 Cent G-Unit Lloyd Banks Mobb Depp Tony Yayo Young Buck INTERSCOPE RECORDS 2220 Colorado Avenue CA 90404 Santa Monica USA tel +1 310 865 1000 fax +1 310 865 7908 www.interscope.com Record Company A&R Teresa La Barbera-Whites
    [Show full text]
  • The Post-Traumatic Futurities of Black Debility
    This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Koivisto, Mikko (Live!) The Post-traumatic Futurities of Black Debility Published in: DISABILITY STUDIES QUARTERLY DOI: 10.18061/dsq.v39i3.6614 Published: 30/08/2019 Document Version Publisher's PDF, also known as Version of record Please cite the original version: Koivisto, M. (2019). (Live!) The Post-traumatic Futurities of Black Debility. DISABILITY STUDIES QUARTERLY, 39(3). https://doi.org/10.18061/dsq.v39i3.6614 This material is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. Powered by TCPDF (www.tcpdf.org) (Live!) The Post-traumatic Futurities of Black Debility Mikko O. Koivisto Aalto University School of Arts, Design and Architecture Email: [email protected] Keywords: Pharoahe Monch, debilitation, racism, ableism, sanism, rap music Abstract This article investigates the possibilities of artistic and performative strategies for elucidating forms of systemic violence targeted at racialized and disabled bodies. The analysis focuses on the album PTSD: Post traumatic stress disorder by the New York rapper Pharoahe Monch, delving into the ways in which it explores the intersections of Blackness and disability. The album's lyrics range from a critique of the structural racism in contemporary American society to subjective, embodied experiences of clinical depression, anxiety, and chronic asthma—and their complex entanglement.
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Generally speaking, the rule for hip-hop music of the 1990s was that behind every successful rap act there was a producer. Rap music was born as a "do it yourself" art in which the "message" was more important than the music. During the 1990s, interest in the lyrics declined rapidly, while interest in the soundscape that those lyrics roamed increased exponentially. The rapping itself became less clownish, less stereotyped, less macho, and much more psychological and subtle. In fact, rappers often crossed over into singing. Hip-hop music became sophisticated, and wed jazz, soul and pop. Instrumental hip-hop became a genre of its own, and one of the most experimental outside of classical music. East-Coast rap TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The most significant event of the early 1990s was probably the advent of Wu-Tang Clan (1), a loose affiliation of rappers, including Gary "Genius/GZA" Grice, Russell "Ol' Dirty Bastard" Jones, Clifford "Method Man" Smith and Dennis "Ghostface Killah" Coles, "conducted" (if the rap equivalent of a classical conductor exists) by Robert "RZA" Diggs, the musical genius behind Enter the Wu-Tang (1993), a diligent tribute to old-school rap.
    [Show full text]
  • ROC MARCIANO Rosebudd’S Revenge 2: the Bitter Dose LP COMING SOON
    ROC MARCIANO Rosebudd’s Revenge 2: The Bitter Dose LP COMING SOON KEY SELLING POINTS • Pitchfork review (8.0) • Music Video: The Sauce & Corniche feat. Action Bronson • Features from Action Bronson & Knowledge The Pirate • Production from Animoss, Don Cee, E.L.E.M.N.T., and Roc Marciano himself DESCRIPTION ARTIST: Roc Marciano We are presently in the post-Marcberg era of rap. After Roc Marciano TITLE: Rosebudd’s Revenge 2: The Bitter Dose released his solo opus in spring 2010, a new continuum began which CATALOG: CD-FB5187 gathered tremendous momentum in 2012 following the release of his Metal Clergy compatriot Ka’s Grief Pedigree and Roc’s amazingly LABEL: Marci Enterprises concise sophomore effort Reloaded. Subsequently, a divergent path GENRE: Hip-Hop/Rap opened in modern rap heavily influenced by the sonics, tone, and BARCODE: 659123518727 aesthetic of those three projects. Since then, Roc Marciano has released FORMAT: CD a critically acclaimed producer album Marci Beaucoup, bookended by the release of his project The Pimpire Strikes Back in multiple formats. HOME MARKET: Long Island, New York In the years since this string of releases, a new crop of emcees and RELEASE: 4/13/2018 producers emerged heavily inspired and influenced by Roc’s oeuvre LIST PRICE: $11.98 / AK while many others’ careers have been left doing the running man in their wave. CASE QTY: 50/1 With multiple modern rap classics already under his Ferragamo belt, TRACKLISTING (Click Tracks In Blue To Preview Audio) last year Roc Marciano liberated the first half of his two part project titled Rosebudd’s Revenge.
    [Show full text]
  • The Arts and Entertainment Supplement to the Daily Nexus, for February 16Th Through February 22Nd
    The Arts and Entertainment Supplement to the Daily Nexus, for February 16th Through February 22nd. 1995 AHHHH! It's raining mastheads! YOU SHOULD JUST READ THE INTERVIEW WITH FUNKDOOBIEST ON PAGE 4A ALSO: HIGHER LEARNING MASSIVE ATTACK THE POPPY FIELD AND MORE! ZACK GROSSMAN/DftOy Nexus 2 A Thursday, February 16,1995 Daily Nexus In 1991, director John Singleton re­ rest of the audience’s eyes. Various Artists ceived national attention and acclaim for Adding to the portrayal of the charac­ Higher Learning Boyz N The Hood. It was unfortunate ter is the fact that Kristen is experiencing Epic that he followed this with the sophomoric sexual ambivalence, as she steeps with Poetic Justice. But any questions about both Wayne (Jason Wiles) and Taryn Take a stroll down any Singleton’s skills as a moviemaker are an­ (Jennifer Connelly), head of one of the college campus — w alk­ swered in Higher Learning, which is, university's women’s groups. ing through the dorms and apartments you can hear the music of America. So writes John Singleton in the liner notes of the soundtrack to his new film, H igher Learning. Singleton is right. As a freshman, a phenomenally diverse mix of music constantly pul­ sated within my dorm. One of the joys of living in those cramped quarters was that there was a pretty fair chance that any ima­ ginable CD was available to borrow from someone in the building. Yes, take a stroll down UCSB’s cam­ pus, and .while walking through tiie dorms you will likely hear the music quite simply, great The third freshman, Remy (Michael of Miles Davis, Led Zep­ chine an d M e’sh ell same album? Don’t worry, The film takes place on the campus of Rapaport) brings some strangeness to an pelin and Snoop Doggy Ndege’Ocello perform it’s not quite as weird as it Columbus University, and by depicting otherwise fairly normal college.
    [Show full text]
  • “My Logo Is Branded on Your Skin”: the Wu-Tang Clan, Authenticity, Black Masculinity, and the Rap Music Industry
    “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History – Master of Arts 2014 ABSTRACT “MY LOGO IS BRANDED ON YOUR SKIN”: THE WU-TANG CLAN, AUTHENTICITY, BLACK MASCULINITY, AND THE RAP MUSIC INDUSTRY By Ryan Alexander Huey The rap group, the Wu-Tang Clan came out of a turbulent period of time in both the rap music industry and American society in the early 1990s. Lawsuits over sampling in rap music forced producers to rethink the ways they made music while crack cocaine and the War on Drugs wreaked havoc in urban communities across the nation, as it did in the Clan’s home borough of Staten Island, New York. Before the formation of the group, Gary “GZA” Grice, had managed to land a recording contract as a solo artist, but his marketing was mismanaged and his career stagnated. He returned in 1992 as one of the nine member collective, who billed themselves as kung fu movie buffs melding low-fi, eerie productions with realistic raps about ghetto life. Drawing from the vibrant underground rap scene of New York City in the 1970s and 1980s, Brooklyn’s rich African American chess tradition, the teachings of the Five Percenters, and the cult following for Hong Kong action cinema, the Clan became a huge hit across the country. Each member fashioned a unique masculine identity for himself, bolstering their hardcore underground image while pushing the boundaries of acceptable expressions of manhood in rap music.
    [Show full text]
  • 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.
    [Show full text]
  • V. 16-08-2012 DJ ʻD CD
    v. 16-08-2012 D.J. ʻD CD: "The Workers Union – A Story by D.J. ʻD" Molemen Records/Revolver, 2000 Workers (intro) / Shine (the supersoul flow) [feat. Genstar & Lady Blue] / Union theory [feat. Abstract Rude, Trend & Aceyalone] / From North America to the world [feat. Abstract Rude] / Static [feat. Awol One] / Live at The Lounge pt. 1 [feat. Improvize on the 1 and 2s] / You ain't gotta lie [feat. Abstract Rude & D.K. Toon] / 50 years / Live long & prosper [feat. Abstract Rude & Buku-One] / The world goes on [feat. D.K. Toon & Nina Lorin] / Commiting random acts of peaceful crime [feat. Virtue] / Casino pt. 2 [feat. Street Reportaz] / In the hood [feat. D.K. Toon & Nina Lorin] / Down (outro). D12 feat. Eminem, Proof, Bizarre, Kon Artist, Swift & Kuniva 12": Shit on you: Street / Clean / Acapella • – Shady/Interscope promo, 2000 2CD: "Devil's Night" – limited edition w/ bonus disc Interscope, 2001 Another public service announcement / Shit can happen / Pistol pistol / Bizarre (skit) / Nasty mind / Ain't nuttin' but music / American psycho / That's how (skit) / That's how… / Purple pills / Fight music / Instigator / Pimp like me / Blow my buzz / Obie Trice (skit) / Devils night / Steve Barman (skit) / Revelation • These drugs / Words are weapons / Shit on you / Shit on you – video (explicit) / Dirty TV international – video / D-12 picture gallery / weblink. CD: "D12 World" Shady/Interscope Records, 2004 Git up / Loyalty [feat. Obie Trice] / Just like U / I'll be damned / Dude (skit) / My band / U R the one / 6 in the morning / How come / Leave dat boy alone / Get my gun / Bizarre (skit) / Bitch / Steve's coffee house (skit) / D-12 world / 40 oz.
    [Show full text]
  • Bill Bradley Addresses the AUC
    VOL. 72, NO. 6 MOREHOUSE COLLEGE; ATLANTA, GEORGIA Monday, November 22, 1999 INA&E IN SPORTS IN FEATURES A review of the Who’s the best Finances in jeop­ Elizabeth Catlett Sculp­ running back: Barry or ardy? Always broke? See ture Retrospective and Emmitt? pages 8-9 to turn that the inside track on other around! current exhibits Page 12 Page 14 Page 10 Bill Bradley addresses the AUC Staff Reports the budget surplus and endan­ ger Medicare funding. Gore He graduated from also claimed that Bradley's Princeton University, he is a proposal to end Medicaid in Rhodes Scholar, he played for favor of subsidized health in­ the New York Knicks and on surance for the poor would be Wednesday November 17, to the disadvantage of minor­ 1999 Senator Bill Bradley ad­ ity Americans. dressed the Morehouse School His message was from of Medicine and the surround­ the heart and no one could ing academic community. question his sincerity, but the In an enticing 30-minute most impressive thing about address, Bill Bradley inspired Bradley was his unshakable political awareness in a small integrity. From his very frank number of AUC students. Ina positions on race to his open message about universal support of health and wealth health care, equality of the for all Americans, it was clear races, and the inherent good­ that Bradley was grounded in ness of people (according to some very clear and solid prin­ Bradley unrealized goodness), ciples. Bradley was only able to touch Under Senator Bradley's a few. proposal, "American citizens Bradley's visit was in­ would have a choice, and bet­ tended to clear up misconcep­ ter healthcare." What once tions concerning recent accusa­ looked like a Democratice tions from his opponent for the coronation for Vice President Democratic nomination, Vice A1 Gore is now a race for the During his brief visit to the Morehouse School of Medicine on Wednesday, November President A1 Gore.
    [Show full text]
  • Automatic Generation of Rap Lyrics Using Sequence-To-Sequence Learning
    DeepLyricist: Automatic Generation of Rap Lyrics using Sequence-to-Sequence Learning Nils Hulzebosch Student ID: 10749411 A thesis presented for the degree of Bachelor Artificial Intelligence 18 ECTS Faculty of Science University of Amsterdam Netherlands July 2, 2017 M.Sc. Mostafa Dehghani Dr. Sander van Splunter University of Amsterdam University of Amsterdam [email protected] [email protected] First supervisor Second supervisor Abstract This thesis demonstrates the use of sequence-to-sequence learning for the automatic generation of novel English rap lyrics, with the goal of generating lyrics with similar qualities to those of humans in terms of rhyme, idiom, structure, and novelty. The sequence-to-sequence model tries to learn the best parameters for generating target sequences given source sequences, and is trained on over 1.6 million source-target pairs, containing lyrics from 348 different rap artists. The automatic evaluations of each of the four characteristics show that idiom and structure have the best performance, whereas rhyme and novelty should be improved to be in a similar range of human lyrics. Future research could focus on using hierarchical models to improve the learning and generation of rhyme, structure, and possibly novelty, and implementing a sampled probability to increase the uniqueness of generated lyrics. 1 Contents Acknowledgements 4 1 Introduction 5 2 Related work 6 3 Characteristics of rap lyrics 7 3.1 Rhyme . .7 3.2 Rhyme schemes . .9 3.3 Song structure . 10 3.4 Idiom . 11 3.5 Novelty . 12 4 Evaluation Methodology 12 4.1 Rhyme . 12 4.1.1 Modified rhyme density . 13 4.1.2 End rhyme score .
    [Show full text]
  • Over 1000 Breakbeat List
    Over 1000 Breakbeat List 1. Stop - Wake Up 2. Superman Ivy - Yes Yes Ya'll 3. Superman Ivy - Yes Yes Ya'll (Remix) 4. Superman Ivy - Yes Yes Ya'll (Acapella) 5. Superman Ivy - Yes Yes Ya'll (Instrumental) 6. Tha Alkaholiks - Make Room 7. Thalia - The Mexican (Disco Circus Remix) 8. The 45 King - The 900 Number 9. The Beginning Of The End - Funky Nassau 10. The Meters - Same Old Thing 11. The Poets Of The Rhythm - North Carolina 12. The Ying Yang Technique - LUDI 13. Black Eyed Peas - They Don't Want Music 14. Third World Lover - Kid Koala 15. Ultramagnetic MC'S - One To Grow On 16. Visionaries - Crop Circles 17. Watch Out Now - Beatnuts 18. Yellow Sunshine 19. Yoshida Brothers - Storm 20. Da Boogie Crew - You Boys (Remix) 21. Zion-I & The Grouch - Trains & Planes 22. RJD2 - The Horror 23. Rob Dougan - Clubbed To Death 24. RUN DMC - It's Tricky 25. Safri Duo - Rise (Remix) 26. Sapo - Been Had 27. Scooter - Bboys/Bgirls Rock Tha House 28. Skrip Breaks - Enemy Crush 29. Sorea - Soul In Panic 30. Souls Of Mischief - 93 Till Infinity 31. Southside Rockers - Jump 32. Stetsasonic - Talkin' All That Jazz 33. Stetsasonic - The Hip Hop Band 34. Superman Ivy - Rivers Crew Theme 35. Superman Ivy - Rivers Crew Theme (Instrumental) 36. Superman Ivy - Rivers Crew Theme (Acapella) 37. Superman Ivy - Seoul Futureshock 38. Superman Ivy - The Freshest Ivy 39. Superman Ivy - The Freshest Ivy (Acapella) 40. Superman Ivy - The Freshest Ivy (Instrumental) 41. Mark Ronson Feat. Ghostface Killah, Nate Dogg, Trife - Ooh Wee 42.
    [Show full text]