The Iconic Girl Group, “The Good Girls” Are Back!

Total Page：16

File Type：pdf, Size：1020Kb

Oct 16, 2018 08:30 CEST The Iconic Girl Group, “The Good Girls” are back! The Iconic Girl Group, “The Good Girls” are now available for Booking. Their first Reunion Performance was a Sold Out Performance, in Los Angeles. The Good Girls are a female R&B trio from Los Angeles, California that emerged in the late 1980s; composed of Shireen Crutchfield, Joyce Tolbert, and DeMonica Santiago. Watch video on YouTube here The Good Girls were recording artist for Motown Records, and were groomed as a contemporary version of The Supremes with a more urban sound. The group's debut albumAll for Your Love, influenced heavily by Teddy Riley's new jack swing movement, was released 1989, producing the hit single "Your Sweetness" which peaked to #6 on Billboard's Hot R&B/Hip-Hop Songschart. Other notable singlesincluded their cover version of "Love Is Like an Itching in My Heart," and "I Need Your Love". The girls also appeared on the 1990 debut single by MC Trouble entitled "(I Wanna) Make You Mine". The group's second album Just Call Me was released in 1992 with lukewarm success. Two highlights for the group happened in 1990 when they went on Motown's MotorTown Tour and later that year, they would join New Kids on the Block's No More Games tour. [Source: Wikipedia] The Iconic Girl Group, “The Good Girls” are now available for Booking Stephanie M.Jordan [email protected] 312.508.2092 Deft Fox Digital Ltd. is a marketing and media production Company in Malta, Spain and Sweden. www.deftfox.digital Mail: [email protected].

Copy Link

Recommended publications

Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
[Show full text]
The Ticker, October 27, 1992
,..._,...·..:-....~,~.~ ~..<I(::~;.,oi;~~~bP"'1ll$;.,rf!lt.~..:~~_ .... ..... , __ ...._ .... ' .. ". _.. ~. t , :~\~~:~~~~ ....---. _.~.....-c.--~~ _- ~ --__ ,- -.::r -•. ~: . .';'- - _- •. --- --..-~ .,-' ~ ':,.' _ '.,"" -;- ,~. .. • -," ,'-' .' ...' .. "'.':'... '.' '. , ': ... -. f:" . ,..~ ""., , •. ....,,'.. ~ '~ I-li,• ..• ~ ·.~" ~.. •"~"'.••:ra"""~' 0 Vol. 63, Number 2 Baruch College. • City University of New_.- Ypr_. October 27,1992 Former RivalsJo--.,.-. By FarahGehy Thetwohavealreadyworked knowledge him. ,. Charles Weisenhart and ,toget~,onthe USS. ,They Quaterman saidheis the,"1 e- Simon Herelle, opponents iII worked, along with ether del- gal interim chair. Iftheydon't last years Day. SessionStu- egatesto the USS, to curtail recognize me {at the Board dent presidential race, have theelectionsoftheUSSChair. meetings], they're in violation forged an alliance, and they The election, which was to be ofthe Higher Education Law, are now working' together to heldOctober11, was re-sched- Section 6204." reform the UniversityStudent uled for November 8. , The law states' that there Senate. ,. HerellerWeisenhart .and must be consecutive student · Herelle, the DSSG presi- - otherdelegatesworkedtopost- representation atBoard meet dent as well .as Baruch's del- pone the electionbecause they ings. ThejobofChairis to vote . egate to the USS, said that, feel the USS should be re- and participateatBoardmeet Weisenhartwashisfirstchoice . formed. ings. The Chair is the only to be the alternate delegate. "We should be able to imple- student vote in CUNY "If we had to get anything ment reforms before the elec- Themajorityofthe delegates done in government this year, tions," said Herelle. wantreforrns"inordertoavoid the elections had to end," said The delegates are looking to the scandals of the previous Herelle, regarding the fiercely implementspecificguidelines, years,"saidQuatennan."We're contested race for D.S.S.G. which have notyetbeenset, to trying to change the image of president last year.
[Show full text]
Interconnections and Uneasy Alliances Between the Black and South Asian Diasporas: a Study of Hip Hop Videos, Film, and Literature
INTERCONNECTIONS AND UNEASY ALLIANCES BETWEEN THE BLACK AND SOUTH ASIAN DIASPORAS: A STUDY OF HIP HOP VIDEOS, FILM, AND LITERATURE VISHA GANDHI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2014 © Visha Gandhi, 2014 Interconnections and Uneasy Alliances Between the Black and South Asian Diasporas: A Study of Hip Hop Videos, Film, and Literature This dissertation challenges the belief that racialized communities do immediately support and identify with each other; my research on the Black and South Asian diasporas unearths the Orientalist thoughts and anti-Black racisms that exist in each respective community. Using the work of Edward Said in his text, Orientalism, and research on racial triangulation by Asian Americanist Claire Jean Kim, my work attempts to clarify the often-conflicted relations and dynamics between South Asians, Blacks, and whites. Chapter two of this dissertation looks at romantic and sexual involvement between different racial communities; I specifically look at the films Mississippi Masala and Bhaji on the Beach to delve into the cultural rarity that is the Black-South Asian romance. Chapter three discusses Black Orientalism in American hip hop videos by such artists as Truth Hurts, and Timbaland and Magoo. Finally, chapter four looks at gendered dynamics and longings for blackness in the texts Consensual Genocide, by Leah Lakshmi Piepzna-Samarasinha, and Londonstani, by Gautam Malkani. ii This dissertation is dedicated to my family, and especially to Catherine Thompson, for her unending support. And to all hip hop brown girls who practice their appreciation respectfully.
[Show full text]
Newspaper $D.Bu — — 6
ApriL Newspaper $d.bU — — 6 Geffen Recordspromotion executive Marko THE DIVINE ONE JANE SAYS.. .GET Babineau has moved over to be general manager for the DIES Sarah Vaughan, one LOST: The former manager DGC label. In turn, Babineau an- of the greatest jazz singers of all of Jane's Addiction, Gary Kur- his promotional time, died of lung cancer last first, is suing the band. He nounced DGC team: Leavitt as Tuesday at the age of 66. "The claims that they fired him in Steve CHR Divine One," as she was aptly violation of a three-year con- promotion director, Hugh Surratt nicknamed, began her career in tract that does not expire until as AOR promotion director, and 1942, after winning an amateur August, 1991. Kurfirst alleges Mark Kates as alternative promo- contest at New York's Apollo at the time of the filing date tion director. DGC has also an- Theatre. For nearly 50 years, (January 25), lead singer Perry nounced thirteen regional her remarkable instrument Farrell was enrolled in a Bever- promotion managers: Mark which, amazingly, seemed to ly Hills drug rehab center, and Burger / Dallas, Lorren Cor- improve with age—has been lead guitarist Dave Navaro was nelius / St. Louis, Jim Gallis / heard on thousands of record- in a methadone program. He Midwest, Ed Green /Philadel- ings and in thousands of con- feels that the band members' phia, Angela Jones / Nashville, cert halls and jazz clubs. With alleged drug problems resulted Alek Maye/Cleveland, Sue O’- Billie Holiday and Ella in clouded judgement, result- Connell/New England, Zak Phil- Fitzgerald, she represented one ing in his dismissal.
[Show full text]
Augsome Karaoke Song List Page 1
AUGSome Karaoke Song List 44 - When Your Heart Stops Beating 112 - Come See Me 112 - Cupid 112 - Dance With Me 112 - It's Over Now 112 - Only You 112 - Peaches And Cream 112 - U Already Know 311 - All Mixed Up 311 - Amber 311 - Beyond The Gray Sky 311 - Creatures (For A While) 311 - Don't Tread On Me 311 - Down 311 - First Straw 311 - Hey You 311 - I'll Be Here Awhile 311 - Love Song 311 - You Wouldn't Believe 411 - Dumb 411 - On My Knees 411 - Teardrops 702 - Get It Together 702 - I Still Love You 702 - Steelo 702 - Where My Girls At 911 - All I Want Is You 911 - How Do You Want Me To Love You 911 - Little Bit More, A 911 - More Than A Woman 911 - Party People (Friday Night) 911 - Private Number 1927 - That's When I Think Of You 1975 - Chocolate 1975 - City 1975 - Love Me 1975 - Robbers 1975 - Sex 1975 - Sound 1975 - Ugh 1 Giant Leap And Jazz Maxi - My Culture 10 Years - Beautiful 10 Years - Through The Iris 10 Years - Wasteland 10,000 Maniacs - Because The Night 10,000 Maniacs - Candy Everybody Wants 10,000 Maniacs - Like The Weather 10,000 Maniacs - More Than This 10,000 Maniacs - These Are The Days 10,000 Maniacs - Trouble Me 100 Proof Aged In Soul - Somebody's Been Sleeping Page 1 AUGSome Karaoke Song List 101 Dalmations - Cruella de Vil 10Cc - Donna 10Cc - Dreadlock Holiday 10Cc - I'm Mandy 10Cc - I'm Not In Love 10Cc - Rubber Bullets 10Cc - Things We Do For Love, The 10Cc - Wall Street Shuffle 112 And Ludacris - Hot And Wet 12 Gauge - Dunkie Butt 12 Stones - Crash 12 Stones - We Are One 1910 Fruitgum Co.
[Show full text]
An Analysis of Gender in Billie Eilish's Music Videos
Empowering femininity: An analysis of gender in Billie Eilish’s music videos ’When The Party’s Over’, ’Bad Guy’ and ’All The Good Girls Go To Hell’ Supervisor: Mia Rendix Written by: Tania Benyamin Odisho Jounan 10th semester English Date of submission: the 12th of March 2020 Aalborg University Spring semester 2020 Jounan 2 Table of contents Foreword………………………………………………………………………… 3 Abstract………………………………………………………………………….. 4 1. Introduction………………………………………………………………….. 5 2. Theory………………………………………………………………………… 7 2.1 A description of Erik Erikson’s term of identity…………………………………….7 2.2 An introduction to Giddens’ term of modernity………………………………… …12 2.3 An introduction to the concept of feminism and the different waves of feminism…14 2.4 Judith Butler on gender theory………………………………………………… .......16 2.5 Who is Billie Eilish?.............................................................................................. ….18 3. Analysis……………………………………………………………………….. 19 3.1 When did it all begin?.................................................................................................. …..19 3.2 Messing with the aesthetically female: an analysis of gender in ’When The Party’s Over 21 3.3 Dominance and female empowerment: an analysis of gender in ‘Bad Guy’…………….. 22 3.4 Demonising the vision of the white angel: an analysis of gender in ‘All The Good Girls Go To Hell’ …………………………………………………………………………………………. 24 3.5 Understanding Billie Eilish’s gender performance in the music videos: ‘Ocean Eyes,’ ‘When The Party’s Over,’ ‘Bad Guy,’ and ‘All The Good Girls Go To Hell’ …………………………. 26 3.6 Analysing Lorde’s music videos ‘Royals’ and ‘Green Light’……………………………. 28 3.7 Analysing Janelle Monáe’s music videos ‘Make Me Feel’ and ‘PYNK’………………… 30 3.8 Analysing Ariana Grande’s music videos ‘Thank U, Next’ and ‘7 Rings’………………. 34 4. Discussion………………………………………………………………… ..40 4.1 Combining queer theory and feminism: understanding Billie Eilish’s appearance on IG 40 Example 1: “What do you want from me”………………………………………………….
[Show full text]
Bad Bitches, Jezebels, Hoes, Beasts, and Monsters
BAD BITCHES, JEZEBELS, HOES, BEASTS, AND MONSTERS: THE CREATIVE AND MUSICAL AGENCY OF NICKI MINAJ by ANNA YEAGLE Submitted in partial fulfillment of the requirements for the degree Master of Arts Thesis Adviser: Dr. Francesca Brittan, Ph.D. Department of Music CASE WESTERN RESERVE UNIVERSITY August, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis of ____ ______ _____ ____Anna Yeagle_____________ ______ candidate for the __ __Master of Arts__ ___ degree.* __________Francesca Brittan__________ Committee Chair __________Susan McClary__________ Committee Member __________Daniel Goldmark__________ Committee Member (date)_____June 17, 2013_____ *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Figures i Acknowledgements ii Abstract iii INTRODUCTION: “Bitch Bad, Woman Good, Lady Better”: The Semiotics of Power & Gender in Rap 1 CHAPTER 1: “You a Stupid Hoe”: The Problematic History of the Bad Bitch 20 Exploiting Jezebel 23 Nicki Minaj and Signifying 32 The Power of Images 42 CHAPTER 2: “I Just Want to Be Me and Do Me”: Deconstruction and Performance of Selfhood 45 Ambiguous Selfhood 47 Racial Ambiguity 50 Sexual Ambiguity 53 Gender Ambiguity 59 Performing Performativity 61 CHAPTER 3: “You Have to be a Beast”: Using Musical Agency to Navigate Industry Inequities 67 Industry Barriers 68 Breaking Barriers 73 Rap Credibility and Commercial Viability 75 Minaj the Monster 77 CONCLUSION: “You Can be the King, but Watch the Queen
[Show full text]
Billie Eilish Gives Us a Glimpse of the Future of Pop Music: a Review Of
Jordan Ayers Professor Kevin O’Donnell Advanced Composition 30 November 2020 Billie Eilish Gives us a Glimpse of the Future of Pop Music: A Review of When We All Fall Asleep, Where Do When We All Fall Asleep, Where Do We Go? We Go? Released March 29, 2019 Label: Interscope Length: 42:56 Unlike Lana Del Rey, Lorde, Halsey, and the other alternative -pop Available at Target $19.97(vinyl) singers who preceded her, Billie Eilish provides a game -changing, $13.99(CD) music industry shifting album that will likely change pop music for years to come. Introduction The then 17-year-old Billie Eilish released her highly anticipated debut album entitled When We All Fall Asleep, Where Do We Go? on March 29th, 2019. The album was immediately met with critical acclaim and rose the Billboard 200 charts, eventually becoming one of the best-selling albums of 2019. To Billie Eilish celebrating her historic 6-Grammy winning night add even more to the emerging success of the album, Eilish made a clean sweep of all of the main categories at the 62nd Annual Grammy Awards (January 26, 2020), where she took home awards for “Best New Artist”, “Song of the Year”, “Record of the Year”, and “Album of the Year”. In a year that saw the return of Taylor Swift from a two-year hiatus and the release of Ariana Grande’s massive record “Thank U Next,” that broke a Billboard Hot 100 record for most songs in the top 5 simultaneously by one artist, 2019 still remained the ‘Year of Billie Eilish’.
[Show full text]
Digital Sampling, Intermediate Copying, Fair Use*
Audio Pastiche: Digital Sampling, Intermediate Copying, Fair Use* Robert M. Szymanski** I. INTRODUCTION .......................... 273 II. WHAT IS DIGITAL SOUND SAMPLING? . 275 A. Sampling as a Technological Process.......... 275 B. The History of Sampling ................ 277 C. Recognizable and Transformed Samples in Contemporary Music ................... 278 D. Sampling as a Postmodern Art Form .......... 280 III. THE MUSIC INDUSTRY'S CURRENT APPROACH TO LICENSING SAMPLES ...................... 289 A. Licensing Musical Compositions.............. 292 B. Licensing Sound Recordings ................ 293 C. The Limitations of Enacting a Compulsory Licensing Scheme .................... 294 IV. FEDERAL COPYRIGHT LAW AND SAMPLING .......... 298 A Protection of Musical Compositions ........... 299 B. Protection of Sound Recordings ............. 303 C. Transformed Samples and the Problem of Intermediate Copying .................. 306 IV. FAIR USE DEFENSE ....................... 312 A. Substantially Similar Samples ............... 313 An earlier version of this Article was awarded First Prize at Harvard Law School in the 57th Annual Nathan Burkan Memorial Competition sponsored by the American Society of Composers, Authors and Publishers (ASCAP). The UCLA EntertainmentLaw Review would like to thank ASCAP for granting the rights to edit and publish this piece. Mr. Szymanski, who received his J.D. from Harvard Law School in 1995 and his B.A. from the University of California at Berkeley in 1991, is currently an associate with Weissmann, Wolff, Bergman, Coleman & Silverman in Beverly Hills, California. He would like to give special thanks to his parents and mentors for their encouragement. He would also like to thank the UCLA Entertainment Law Review Editorial Board for their work on this Article. 272 UCLA ENTERTAINMENT LAW REVIEW [Vol. 3:271 1. Purpose and Character of the Use .............313 2.
[Show full text]
Adoption, Abortion, and Surrogacy in the Age of Neoliberalism
The Politics of Reproduction Adoption, Abortion, and Surrogacy in the Age of Neoliberalism Edited by ModhuMita Roy and MaRy thoMpson THE POLITICS OF REPRODUCTION FORMATIONS: ADOPTION, KINSHIP, AND CULTURE Emily Hipchen and John McLeod, Series Editors The Politics of Reproduction Adoption, Abortion, and Surrogacy in the Age of Neoliberalism Edited by Modhumita Roy and Mary Thompson THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2019 by Th e Ohio State University. Th is edition licensed under a Creative Commons Attribution-NonCommercial-NoDerivs License. Library of Congress Cataloging-in-Publication Data is available online at catalog.loc.gov. Cover design by Nathan Putens Text design by Juliet Williams Type set in Adobe Minion Pro Th e paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. We dedicate this volume to the memory of our fathers, Richard E. Thompson Jr. (1924–2011) and Birendra Narayan Roy (1926–2011), and to our mothers, Barbara J. Thompson and Pranati Roy, with love and thanks. CONTENTS Acknowledgments ix INTRODUCTION MODHUMITA ROY AND MARY THOMPSON 1 CHAPTER 1 Precarity and Disaster in Jesmyn Ward’s Salvage the Bones: A Reproductive Justice Reading MARY THOMPSON 25 CHAPTER 2 Privileging God the Father: The Neoliberal Theology of the Evangelical Orphan Care Movement VALERIE A. STEIN 42 CHAPTER 3 White Futures: Reproduction and Labor in Neoliberal Times HEATHER MOONEY 61 CHAPTER 4 One
[Show full text]
Sunfly Karaoke - English - A-Z by Song Title
Sunfly Karaoke - English - A-Z by Song Title Song Title Made Famous By Song Title Made Famous By 079ME B Young 21st Century Girls 21st Century Girls +1 Martin Solveig Feat. Sam White 22 Taylor Swift 10,000 Hours Dan & Shay Feat. Justin Bieber 22 Steps Damien Leith 10,000 Nights Alphabeat 22 (Twenty Two) Lily Allen 1000 Miles Away Hoodoo Gurus 2-4-6-8 Motorway Tom Robinson Band 1000 Nights Ed Sheeran Feat. Meek Mill & A Boog... 24 Hour Party People Happy Mondays 1000 Stars Natalie Bassingthwaighte 24 Hours From Tulsa Gene Pitney 100 Degrees Kylie Minogue Feat. Dannii Minogue 24 Hours From You Next Of Kin 100% Pure Love Crystal Waters 24K Magic Bruno Mars 1010 Rex Orange County 25 Miles Edwin Starr 10 Million People Example 25 Minutes To Go Johnny Cash 10 Seconds Jazmine Sullivan 25 Or 6 To 4 Chicago 1+1 (One Plus One) Beyonce 26 Cents The Wilkinsons 1234 Feist 29 Palms Robert Plant 12345 Generic 2 Become 1 Spice Girls 1 2 3 4 (Sumpin' New) Coolio 2 Faced Louise 1, 2 Step Ciara Feat. Missy Elliott 2Gether Roger Sanchez & Far East Movement F... 15 Minutes The Yeah Yous 2 Hearts Kylie Minogue 17 Forever Metro Station 2 Minutes To Midnight Iron Maiden (17) Seventeen MK 2 On Tinashe Feat. SchoolBoy Q 1-800-273-8255 Logic Feat. Alessia Cara & Khalid 2 Pints Of Lager & A Packet Of Cris... Splogenessabounds 18 And Life Skid Row 2U David Guetta Feat. Justin Bieber 18 Till I Die Bryan Adams 3005 Childish Gambino 18 Wheeler P!nk 30 Days The Saturdays 18 Yellow Roses Bobby Darin 30 Minute Love Affair Paloma Faith 1901 Birdy 37653 Gloria Estefan & Miami Sound Machin..
[Show full text]
Hip-Hop's Tanning of a Postmodern America
HIP-HOP’S TANNING OF A POSTMODERN AMERICA: A LONGITUDINAL CONTENT ANALYSIS OF PARADOXICAL JUXTAPOSITIONS OF OPPOSITIONAL IDENTITIES WITHIN U.S. RAP SONG LYRICS, 1980–2013 Shawn A. Gadley Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Koji Fuse, Major Professor Tracy Everbach, Committee Member James Mueller, Committee Member Dorothy Bland, Director of the Frank W. Mayborn Graduate Institute of Journalism and Dean of the Frank W. and Sue Mayborn School of Journalism Mark Wardell, Dean of the Toulouse Graduate School Gadley, Shawn A. Hip-Hop’s Tanning of a Postmodern America: A Longitudinal Content Analysis of Paradoxical Juxtapositions of Oppositional Identities within U.S. Rap Song Lyrics, 1980-2013. Master of Arts (Journalism), May 2014, 100 pp., 9 tables, references, 143 titles. A longitudinal content analysis of top-chart hip-hop songs’ lyrics produced between 1980 and 2013 was conducted to investigate the degree and progression of the paradoxical juxtaposition, or postmodern hybridity, of oppositional modernist identities in terms of race/ethnicity, gender, sexual orientation, sexuality, and economic lifestyle, in addition to the longitudinal diversification of artist’s race and gender demographics. Demographically, the percentage of non-African-American artists increased as the percentage of African-American artists decreased. Additionally, the percentage of songs featuring either all male or all female artists decreased, while the percentage of collaboration between male and female artists increased over time. Although hybrid oppositional identities related to race/ethnicity and gender did not increase over time, those of sexual orientation, sexuality, and economic lifestyle increased over time.
[Show full text]