NEW TOOLS for China's Counterfeit Crackdown HOUNDING OUT
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In the Summertime (PDF)
In The Summertime Ray Dorset 1970 (as recorded by Mungo Jerry) OR or INTRO: / 1 2 / 1 2 / INSTRUMENTAL VERSE: < HALF DO MELODY ON KAZOO, OTHER HALF DO CHICS > [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [D] Chic, chic-chic, uh [D] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [E] Chic, chic-chic, uh [D] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic In the [A] summertime when the [A] weather is high You can [A] stretch right up and [A] touch the sky When the [D] weather’s fine You got [D] women you got women on your [A] mind [A] Have a [E] drink have a drive [D] go out and see what you can [A] find [A] If her [A] daddy's rich, take her [A] out for a meal If her [A] daddy's poor, just [A] do what you feel Speed a-[D]long the lane Do a [D] ton, or a ton and twenty-[A]five [A] When the [E] sun goes down You can [D] make it make it good in a lay-[A]by [A] We're not [A] grey people, we're not [A] dirty, we're not mean We love [A] everybody, but we [A] do as we please When the [D] weather’s fine We go [D] fishing or go swimming in the [A] sea [A] We're always [E] happy Life's for [D] living yeah that's our philoso-[A]phy [A] Sing a-[A]long with us, dee-dee [A] dee-dee-dee Da-da [A] da-da-da, yeah, we’re [A] hap-happy [D] Da da daa [D] dee da-da dee da-da da-da [A] daa [A] Da-da [E] da-da daa [D] da da daa da-da [A] daa [A] INSTRUMENTAL VERSE: < HALF DO MELODY ON KAZOO, OTHER HALF DO CHICS > [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [A] Chic, chic-chic, -
Boekje Open Over Roomse Herrie: Bleekwal 10 - Postbus 38
Donderdag 21 februari 2008 67e jaargang no. 8 Eibergen Lintvelde Ruurlo Hupsel De Bruil Avest Holterhoek Beltrum Ruurlosebroek k Groenlo Eefsele Zwolle Mariënvelde Meddo Lievelde Halle Heide Zieuwent Halle Harreveld Vragender Lichtenvoorde Heelweg Westendorp Varsseveld Aalten Colofon Trapstofferen met Bonaparte Uitgave: Grafisch Bedrijf Weevers Elna BV Esprit tapijt in 16 kleuren Boekje open over Roomse Herrie: Bleekwal 10 - Postbus 38 € incl. lijm+werkloon 298,00 7130 AA Lichtenvoorde levende jeugdherinneringen Telefoon (0544) 37 13 23 Fax (0544) 37 18 99 E-mail: [email protected] Dijkstraat 14 7131 DN Lichtenvoorde Internet: www.elna.nl T.0544-371237 www.reukerswoonadvies.nl Rabobank: 36.64.02.374 Lid NNP Deze week in de Aanleveren advertenties en berichten: Elna Nieuws tot maandag 12.00 uur Advertenties tot maandag 17.00 uur Overname van advertenties AutoContact en berichten is niet toegestaan Werken doe je bij: OLDENHAVE PERSONEELS- The Strangers brachten het publiek terug naar de sixties en seventies DIENSTEN Roomser met herrie kon het zon- dag 17 februari niet. Vanaf twee www.oldenhave.nl uur 's middags kwamen muziek- genres, allerlei soorten bandjes en 0575-54 69 86 generaties publiek samen om te luisteren, te voelen en te proeven van hoe het uitgaan in hun jeugd- jaren ook alweer was. Het gebeur- de in het roemrijke Groenlo in City Lido dat een hele lange zondag dé poptempel van Oost Gelre was waar 2300 betalende bezoekers bij- een waren in een reünie. De aanleiding voor dit eendaagse, gro- te festival was het Boek Roomse Herrie dat eind vorig jaar uitkwam en in een paar weken was uitverkocht. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Summertime Roll!
Summertime Roll! 48 Count, 2 Wall, Improver (Samba) Choreographer: Joey Warren (USA)& Niels Poulsen (DK) Oct 2015 Web site: www.linedancerweb.com Choreographed to: In The Summertime by Shaggy, ft. Rayvon (3:46m) E-mail: [email protected] Intro: 16 count intro from the main beat in the music (14 secs. into track). Start with weight on L. NOTE: As the music is a samba it has a delayed syncopated beat. Try to execute all the &-steps with a slight hesitation whenever possible. Think of the &-counts as ‘a’-counts. NO TAGS – NO RESTARTS!!! … [1 – 8] Samba whisk R & L, out R L with hip pushes, chasse ¼ R 1&2 Step R to R side (1), rock back on L (&), recover on R (2) 12:00 3&4 Step L to L side (3), rock back on R (&), recover on L (4) 12:00 5 – 6 Step out R pushing hips R (5), step out L pushing hips L (6) 12:00 7&8 Step R to R side (7), step L next to R (&), turn ¼ R stepping R fwd (8) … (or turn 1 ¼ R) 3:00 [9 – 16] Step turn step, R mambo fwd, out L R into hip roll L and R with points 1&2 Step fwd on L (1), turn ½ R onto R (&), step fwd on L (2) 9:00 3&4 Rock fwd on R (3), recover back on L (&), step back on R (4) 9:00 &5 – 6 Step out L (&), step out R starting to roll hips in a counter clockwise circle from L to R (5), finish hip roll pushing hips L and pointing L to L side (6) 9:00 7 – 8 Do another full hip roll rolling hips clockwise to R then L (7), push hips R and point R to R side (8) Styling: make both circles BIG!!! 9:00 [17 – 24] R vine into ball cross & touch, full volta turn L 1 – 2 Step down on R (1), cross L behind R (2) -
Journal of Arts & Humanities
Journal of Arts & Humanities Volume 07, Issue 11, 2018: 58-67 Article Received: 06-09-2018 Accepted: 02-10-2018 Available Online: 23-11-2018 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v7i10.1491 Pioneering a Pop Musical Idiom: Fifty Years of the Benga Lyrics 1 in Kenya Joseph Muleka2 ABSTRACT Since the fifties, Kenya and Democratic Republic of Congo (DRC) have exchanged cultural practices, particularly music and dance styles and dress fashions. This has mainly been through the artistes who have been crisscrossing between the two countries. So, when the Benga musical style developed in the sixties hitting the roof in the seventies and the eighties, contestations began over whether its source was Kenya or DRC. Indeed, it often happens that after a musical style is established in a primary source, it finds accommodation in other secondary places, which may compete with the originators in appropriating the style, sometimes even becoming more committed to it than the actual primary originators. This then begins to raise debates on the actual origin and/or ownership of the form. In situations where music artistes keep shuttling between the countries or regions like the Kenya and DRC case, the actual origin and/or ownership of a given musical practice can be quite blurred. This is perhaps what could be said about the Benga musical style. This paper attempts to trace the origins of the Benga music to the present in an effort to gain clarity on a debate that has for a long time engaged music pundits and scholars. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Anglo-American Songs and Ballads AFS
Recording Laboratory AFS L20 Anglo-American Songs and Ballads From the Archive of Folk Song Edited by DUNCAN EMRICH , LIBRARY OF CoNGRESS WASHINGTON 1947 Library ofCongress Catalog Card Number R53-580 rev Avai/Qble from the Library ofCongress Music Division, Recorded Sound Section Washington, D.C. 20540 ANGLO-AMERICAN SONGS AND BALLADS AI-A3-CRIPPLE CREEK, GIT ALONG DOWN TO Her head looked like a coffee pot, TOWN, and KICKING MULE. Sung with five Her nose looked like the spout, string banjo by Henry King accompanied by the Her mouth looked like the fire place King family on guitar, mandolin, and bass, at With the ashes all raked out. Chorus. Visalia, Calif., 1941. Recorded by Charles Todd and Robert Sonkin. I wouldn't have a yaller gal, Now here's the reason why, Her neck's so long and scrangy The three songs on this record, played and sung She'd make them biscuits fly. Chorus. by the King family, belong to the broad group of native songs from the southern mountains. They are Boss he had an old gray mare, without any European antecedents and in subject He rode her down in town, matter are purely American. The mandolin and Before he got his trading done, guitar accompaniment, and the very tempo of the The buzzards had her down. Chorus. pieces, again are distinctive of the pure strain of American folk music. Originating in the South, they Boss he had an old gray mare, have spread widely throughout the United States. Her name was Brindly Brown, Every tooth in that mare's head CRIPPLE CREEK Had sixteen inches 'round. -
Surrogate Surfaces: a Contextual Interpretive Approach to the Rock Art of Uganda
SURROGATE SURFACES: A CONTEXTUAL INTERPRETIVE APPROACH TO THE ROCK ART OF UGANDA by Catherine Namono The Rock Art Research Institute Department of Archaeology School of Geography, Archaeology & Environmental Studies University of the Witwatersrand A thesis submitted to the Graduate School of Humanities, University of the Witwatersrand, Johannesburg, South Africa for the Degree of Doctor of Philosophy March 2010 i ii Declaration I declare that this is my own unaided work. It is submitted for the degree of Doctor of Philosophy in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Signed:……………………………….. Catherine Namono 5th March 2010 iii Dedication To the memory of my beloved mother, Joyce Lucy Epaku Wambwa To my beloved father and friend, Engineer Martin Wangutusi Wambwa To my twin, Phillip Mukhwana Wambwa and Dear sisters and brothers, nieces and nephews iv Acknowledgements There are so many things to be thankful for and so many people to give gratitude to that I will not forget them, but only mention a few. First and foremost, I am grateful to my mentor and supervisor, Associate Professor Benjamin Smith who has had an immense impact on my academic evolution, for guidance on previous drafts and for the insightful discussions that helped direct this study. Smith‘s previous intellectual contribution has been one of the corner stones around which this thesis was built. I extend deep gratitude to Professor David Lewis-Williams for his constant encouragement, the many discussions and comments on parts of this study. His invaluable contribution helped ideas to ferment. -
Marketing Plan
ALLIED ARTISTS MUSIC GROUP An Allied Artists Int'l Company MARKETING & PROMOTION MARKETING PLAN: ROCKY KRAMER "FIRESTORM" Global Release Germany & Rest of Europe Digital: 3/5/2019 / Street 3/5/2019 North America & Rest of World Digital: 3/19/2019 / Street 3/19/2019 MASTER PROJECT AND MARKETING STRATEGY 1. PROJECT GOAL(S): The main goal is to establish "Firestorm" as an international release and to likewise establish Rocky Kramer's reputation in the USA and throughout the World as a force to be reckoned with in multiple genres, e.g. Heavy Metal, Rock 'n' Roll, Progressive Rock & Neo-Classical Metal, in particular. Servicing and exposure to this product should be geared toward social media, all major radio stations, college radio, university campuses, American and International music cable networks, big box retailers, etc. A Germany based advance release strategy is being employed to establish the Rocky Kramer name and bona fides within the "metal" market, prior to full international release.1 2. OBJECTIVES: Allied Artists Music Group ("AAMG"), in association with Rocky Kramer, will collaborate in an innovative and versatile marketing campaign introducing Rocky and The Rocky Kramer Band (Rocky, Alejandro Mercado, Michael Dwyer & 1 Rocky will begin the European promotional campaign / tour on March 5, 2019 with public appearances, interviews & live performances in Germany, branching out to the rest of Europe, before returning to the U.S. to kick off the global release on March 19, 2019. ALLIED ARTISTS INTERNATIONAL, INC. ALLIED ARTISTS MUSIC GROUP 655 N. Central Ave 17th Floor Glendale California 91203 455 Park Ave 9th Floor New York New York 10022 L.A. -
Popular Music in Kenya:A Survey and Evaluation of Performing Strategies
POPULAR MUSIC IN KENYA: A SURVEY AND EVALUATION OF PERFORMING STRATEGIES AMONG SELECTED GROUPS IN NAIROBI. BY OYUGI ISAIAH (M.M.Ed.) C82/12026/07 A RESEARCH THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE SCHOOL OF VISUAL AND PERFORMING ARTS OF KENYATTA UNIVERSITY 1 OCTOBER 2012 DECLARATION This Thesis is my original work and has not been presented for any degree in any other University. OYUGI ISAIAH (C82/12026/2007) DEPARTMENT OF MUSIC AND DANCE SCHOOL OF VISUAL AND PERFORMING ARTS KENYATTA UNIVERSITY Signature__________________________________ Date_____________ This Thesis has been presented for examination with our approval as University Supervisors. DR. HENRY N. WANJALA LECTURER, DEPARTMENT OF MUSIC AND DANCE SCHOOL OF VISUAL AND PERFORMING ARTS KENYATTA UNIVERSITY Signature___________________________________ Date______________ DR. TIMOTHY K. NJOORA SENIOR LECTURER, DEPARTMENT OF MUSIC AND DANCE 2 SCHOOL OF VISUAL AND PERFORMING ARTS KENYATTA UNIVERSITY Signature_____________________________________ Date______________ 3 DEDICATION This work is dedicated to my loving parents, Lenah Olombo Shilwatso and the late Mzee Jeremiah Olombo, and the extended family of Olombo. 4 ACKNOWLEDGEMENT I wish to humbly extend my honest gratitude to individuals and institutions whose valued time and input is reflected in this thesis. I wish to thank Kenyatta University for the wonderful opportunity extended to me to explore and further my scholarship. I sincerely wish to recognize and thank my supervisors Dr. H. Wanjala and Dr. T.K. Njoora for their interest, guidance and dedication to my work. I‟m indebted to them for their many hours of discussions and reading of the numerous editions of my work and for their valuable input that has resulted into this final work. -
Download Book # Articles on Bangladeshi Rock Music Groups
YLLADEPYEQKE » Doc » Articles On Bangladeshi Rock Music Groups, including: Cryptic Fate, Aurthohin, Sweet Venom,... Get Book ARTICLES ON BANGLADESHI ROCK MUSIC GROUPS, INCLUDING: CRYPTIC FATE, AURTHOHIN, SWEET VENOM, ARBOVIRUS (BAND), LOVE RUNS BLIND, SOULS (BAND), BLACK (BANGLADESHI BAND), MILES (BAND), ARK (BANGLADESHI BA Hephaestus Books, 2016. Paperback. Book Condition: New. PRINT ON DEMAND Book; New; Publication Year 2016; Not Signed; Fast Shipping from the UK. No. book. Read PDF Articles On Bangladeshi Rock Music Groups, including: Cryptic Fate, Aurthohin, Sweet Venom, Arbovirus (band), Love Runs Blind, Souls (band), Black (bangladeshi Band), Miles (band), Ark (bangladeshi Ba Authored by Books, Hephaestus Released at 2016 Filesize: 5.43 MB Reviews A top quality ebook as well as the typeface used was interesting to see. It usually fails to charge an excessive amount of. Once you begin to read the book, it is extremely difficult to leave it before concluding. -- Dr. Isabell Wiza DDS It in a of my personal favorite book. It is writter in easy terms and never hard to understand. Its been designed in an exceedingly easy way and it is only after i finished reading this publication by which in fact changed me, change the way i think. -- Lucinda Stiedemann TERMS | DMCA M4J1NTTC8K8E » Book » Articles On Bangladeshi Rock Music Groups, including: Cryptic Fate, Aurthohin, Sweet Venom,... Related Books Bound for Rock Bottom (Fantasy; Online Leveled Books) Books for Kindergarteners: 2016 Children's Books (Bedtime Stories for Kids) (Free Animal Coloring Pictures for Kids) Some of My Best Friends Are Books : Guiding Gifted Readers from Preschool to High School Reptiles and Amphibians (Smart Kids Sticker Books) I will read poetry the (Lok fun children's books: Press the button. -
International Journal of Pedagogy Innovation and New Technologies
1212 10.5604/23920092.113479010.5604/01.3001.0011.5843 International Journal of Pedagogy Innovation and New Technologies journal homepage: http://www.ijpint.com ISSN: 2392-0092, Vol. 4, No. 2, 2017 Bangla Rock: exploring the counterculture and dissidence in post- colonial Bengali popular music Kamalini Mukherjee CONTACT: Kamalini Mukherjee, PhD., Centre for the Study of Social Systems, School of Social Sciences, Jawaharlal Nehru University, New Delhi, India, e-mail: [email protected] Keywords: Abstract: 1 counterculture, alternative This paper is an attempt to explore the politics and the poetics of vernacular music in modern Ben- music, bangla rock, gal. Drawn from extensive and in-depth research into the current “scene” (as popularly referred vernacular music to in the musician and music lover circles), this paper delves into the living histories of musical and linguistic revolutions in a part of India where the vernacular literature has been historically rich, and vastly influenced by the post-colonial heritage. The popular music that grew from these political and cultural foundations reflected its own pathos, and consecutively inspired its own form of oral tradition. The linguis- tic and musical inspirations for Bangla Rock and the eventual establishment of this genre in a rigidly curated culture is not only a remarkable anthropological case study, but also crucial in creating discourse on the impact of this music in the creation of oral histories. This paper will discuss both the musical and the lyrical journey of Bengali counterculture in music, thus in turn exploring the scope of Bangla – as in the colloquial for Bengali, and Rock – the Western musical expression which began during the 50’s and the 60’s (also populist and political in its roots).