A-3 Flowcaine 2 Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

A-3 Flowcaine 2 Mp3, Flac, Wma A-3 Flowcaine 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Flowcaine 2 Country: US Released: 2004 Style: Gangsta, Screw MP3 version RAR size: 1217 mb FLAC version RAR size: 1202 mb WMA version RAR size: 1885 mb Rating: 4.9 Votes: 252 Other Formats: VQF MPC VOX MMF MP1 VQF XM Tracklist Hide Credits 1 Intro 2 Guess Who's Back 3 Cain't Stop Dat's Me 4 Featuring – Big Pokey, Dre. P Come Thru 5 Featuring – B. Fetti, Dre. P Pimpin' Ain't Eazy 6 Featuring – Big Moe, Dougie D , Tee-Lee 7 Skit : R.I.P. My City's Screwed Up 8 Featuring – Big Moe, Fat Pat Keep It Playa 9 Featuring – Dre. P 10 Tha Takeover Straight To Tha Point 11 Featuring – B. Fetti Thank Thow'd 12 Featuring – Qui Let 'Em Know 13 Featuring – D Gotti, D-Reck, Dirty $ 14 Skit : The Sh-t 15 Hot Sh-t Straighten It Out 16 Featuring – D Gotti, D-Reck, Ronnie Spencer Represent H-Town 17 Featuring – Qui Holl Up 18 Featuring – Big Moe, D Gotti, Mike Jones Welcome To The City 19 Featuring – Dre. P, Nicki J, Prime Flo, Qui 20 As The World Turns 21 Skit : World Premiere Real Shit 22 Featuring – Craig G , D Gotti, Toya Take Dat 23 Featuring – Craig G We Comin' 24 Featuring – B. Fetti Companies, etc. Copyright (c) – Trendsetta Records Credits Executive-Producer – A-3, C-Los Notes Shares same barcode as the previous Flowcaine CD. Barcode and Other Identifiers Barcode: 651634555147 Matrix / Runout: Flow Caine Part 2 02059 Related Music albums to Flowcaine 2 by A-3 Big Moe - Purple World Yo Gotti, DJ Drama - CM2 DJ Smallz, Yo Gotti - Hustle & Flow Yo Gotti - That's What's Up / Shawty Fetti Gang - Dead Presidents Degree - Miss Gotti / Baddis Grimm Gotti - Street Visions Various - Sing Yo Gotti - Feed The Streets Yo Gotti - The Art Of Hustle.
Recommended publications
  • Screwed up Click, Intro Southside
    Screwed Up Click, Intro Southside... (Lil' Keke) Herschelwood, Sunnyside, South Park Dead End, Cloverland, Yellowstone, Inyard Southwest, Braeswood, S.A., 3rd Ward West Square, Blueridge, Mo City, Hiram-Clarke G.I. down version, A-Leaf and the 4 At the trap by the block, on the corner at the sto' Houston, Dallas, New Orleans it's on Beaumont, Austin, Kaleen, San Anton' Don on a mission, trying to do what he do Lake Charles, Lafeyette they some Screw Heads too Baton Rouge, Shreveport, Tennessee, Alabama Jackson, Pensacola, Chasville and Atlanta 7-1-3, is protected by the pistol Props for Lil' J, Rap-A-Lot and the Nickel S.U.C., DJ and P-A The Take Over album, is coming your way Scarface, 8 Ball, MJ, Bun B Big Hawk, Lil' Ke', please free Pimp C Lil' Flip, Z-Ro, Slim Thug, Sensei Mike D, Lil' O, E.S.G. and Trae Big Moe, Chris Ward and the list goes on Lil' C, A.G., Paul Wall, Mike Jones C.M.G., Ghetto Dreams for life And it's welcome to H-Town, it's going down tonight (Hook - 2x) Get your block up, and rep your hood Fire some weed, it's going down it's all good Homie get your block up, and rep your hood Turn it to a slab, with chrome leather and wood (*talking*) That's right, Young Don, Teflon Hottest underground on the street, what's up Southside Know I'm saying, all the hoods all the real niggas C.M.G., Matics, Al, Hard D that's what it is mayn Yeah, we getting it on out here we grinding C.M.G.
    [Show full text]
  • Chris Taylor Rice University Hip Hop Parody As Veiled Critique
    Chris Taylor Rice University Hip Hop Parody as Veiled Critique 1 Introduction Inherently intertextual, parodies involve the use of semiotic practices indexically associated with the subject of parody, in some cases a particular person or socially- recognizable personae.1 Parodists employ these indexically-linked semiotic practices in an exaggerated fashion, to ridicule indirectly the parodied subject. In the domain of hip hop cultural production, artists marginalized by institutionally-sanctioned systems of distribution use parody to interrogate the naturalness or desirability of prevailing norms which tie semiotic practices to characterological qualities. These parodies involve recognizing norms shared in dissonance, norms regarding authenticity and indigeneity, essentializing discourses which render adherents to opposing norms deviant. Though in this sense discursive formations such as authenticity constrain social action, it is through recognizing and interrogating the normativity of such discourses that social actors – in the case examined here a small population of MCs from Houston, Texas – exercise some measure of agency (Butler 2004, Carter 2007), portraying those who police dominant norms negatively, as less skillful, materialistic, and disingenuously sociopathic. Hip hop parodists achieve this social end by leveling a veiled critique at popular artists. To succeed in their critique, these MCs exploit prior texts (i.e. songs) by transposing strategies popular artists use in styling their personae. For example, in order to communicate a sense of rootedness in a particular neighborhood,2 hip hop artists often employ what I term metastylistic discourse, that is, speech about style. By referring to contextually-bound stylistic practices such as “getting smoked out” and “jammin Screw”3 in the ’hood with their friends, artists establish a connection to place indexically, evoking subterranean, characterological qualities associated with lived experiences of their neighborhoods.
    [Show full text]
  • No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
    20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change.
    [Show full text]
  • Abstract Humanities Jordan Iii, Augustus W. B.S. Florida
    ABSTRACT HUMANITIES JORDAN III, AUGUSTUS W. B.S. FLORIDA A&M UNIVERSITY, 1994 M.A. CLARK ATLANTA UNIVERSITY, 1998 THE IDEOLOGICAL AND NARRATIVE STRUCTURES OF HIP-HOP MUSIC: A STUDY OF SELECTED HIP-HOP ARTISTS Advisor: Dr. Viktor Osinubi Dissertation Dated May 2009 This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough ofNew York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyrics of New York artists Shawn Carter (Jay Z), Nasir Jones (Nas), and southern artists Clifford Harris II (T.I.) and Wesley Weston (Lii’ Flip). The artists were selected on the basis of geographical spread and diversity. Although Hip-Hop was again founded in New York City, it has now spread to other parts of the United States and worldwide. The study investigated the biography of the artists to illuminate their struggles with poverty, family dysfunction, aggression, and intimidation. 1 The artists were found to engage in lyrical battles; therefore, their competitive discourses were analyzed in specific Hip-Hop selections to investigate their claims of authorship, imitation, and authenticity, including their use of sexual discourse and artistic rivalry, to gain competitive advantage.
    [Show full text]
  • BRISCO C-MURDER & More
    OZONE MAGAZINE IT’S A THOUSAND YOU’S IT’S ONLY ONE OF ME IT’S ONLY IT’S A THOUSAND YOU’S MAGAZINE OZONE YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE RAY J MJG MAINO FAT PIMP DAMM D DEVIN THE DUDE OJ DA JUICEMAN BRISCO C-MURDER & more OZONE MAG // YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE MJG RAY J MAINO FAT PIMP C-MURDER DEVIN THE DUDE OJ DA JUICEMAN BRISCO DAMM D & more 3 // OZONE WEST // OZONE MAG OZONE MAG // // OZONE MAG OZONE MAG // // OZONE MAG OZONE MAG // // OZONE MAG 0 // OZONE MAG OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric N. Perrin ASSOCIATE EDITOR // Maurice G. Garland GRAPHIC DESIGNER // David KA ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul SPECIAL EDITION EDITOR // Jen McKinnon MARKETING DIRECTOR // David Muhammad Sr. LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Adero Dawson ADMINISTRATIVE // Kisha Smith INTERN // Kari Bradley CONTRIBUTORS // Alex Cannon, Bogan, Charla- magne the God, Chuck T, Cierra Middlebrooks, interviews Destine Cajuste, Edward Hall, Felita Knight, Jacinta Howard, Jaro Vacek, Jessica Koslow, J Lash, Jason Cordes, Johnny Louis, Keadron 70-71 MAINO Smith, Keith Kennedy, K.G. Mosley, King Yella, Luis Santana, Luxury Mindz, Marcus DeWayne, Matt 62-63 BRISCO Sonzala, Maurice G. Garland, Mercedes (Strictly Streets), Natalia Gomez, Ray Tamarra, Rico Da 64-65 SCARFACE Crook, Robert Gabriel, Rohit Loomba, Shannon McCollum, Spiff, Stan Johnson, Swift, Thaddaeus 68-69 C-MURDER McAdams, Wally Sparks, Wendy Day STREET REPS // rd Leg Greg, Adam Murphy, Alex 66-67 DeVIN THE DUDE Marin, Al-My-T, Benz, Big Brd, B-Lord, Big Ed, Big Teach (Big Mouth), Bigg V, Black, Bogan, Bo Money, Brandi Garcia, Brandon “Silkk” Frazier, Brian Eady, Buggah D.
    [Show full text]
  • He Is Called the Originator for Creating the Slowed-Down Tempo Known As
    He is called the Originator for creating the slowed-down tempo customized cars that were slow, loud and banging. In the cars were fans known as “chopped and screwed,” an inventive musical language that seeking music — DJ Screw’s homemade underground cassette tapes. At propelled hip hop in a new direction and solidified the city of Houston’s one point he was raking in an estimated $15,000 per day from cassette reputation as an epicenter of rap. sales, sometimes more than that, selling between 10,000 to 15,000 With two turntables on either side of him, DJ Screw would manually copies in a single day. manipulate vinyl albums, slowing down the tempo and maintaining the Often inside the house were any number of SUC members, including glacial pace on recordings that could last over an hour. In 1999, DJ Screw C-Note, Will-Lean and the Botany Boyz, Lil’ Flip, Big Pokey, Big Hawk, said he “let my fingers do the talking.” He would invite his friends, who Big Moe, Fat Pat, Lil’ Keke and others. would later be known as the Screwed Up Click (SUC), to freestyle while he Wall said nothing on the radio stirred the excitement of a Screw tape recorded the final product on his celebrated Screw tapes. with that rap collective on it. “He would just slow down the tempo of everything. It would just take “When you got a new Screw tape or something new from DJ Screw you to a place where it would just put you in a trance,” said Grammy- you’d come share it with everyone and say ‘Hey! Have you heard nominated Houston rapper and UH alum Paul Wall, who was a teenager in the new one? I bet you haven’t heard this one.
    [Show full text]
  • Slowed and Throwed: Records of the City Through Mutated Lenses Contemporary Arts Museum Houston Slowed and Throwed: Records of the City Through Mutated Lenses
    Slowed and Throwed: Records of the City Through Mutated Lenses Contemporary Arts Museum Houston Slowed and Throwed: Records of the City Through Mutated Lenses Please do not remove from gallery. 1 Slowed and Throwed: Records of the City Through Mutated Lenses Contemporary Arts Museum Houston Robert Hodge Slowed and Throwed, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge Don’t Play US for weak, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge Body Rock, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge Comin Dine, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge June 27th, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Please do not remove from gallery. 2 Slowed and Throwed: Records of the City Through Mutated Lenses Contemporary Arts Museum Houston Robert Hodge Man Hold Up, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge Southside We ROLL on Choppers, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Robert Hodge Chopped, Chopped, 2020 Mixed media collage on reclaimed paper Courtesy the artist and David Shelton Gallery, Houston, Texas Musician and artist Robert Hodge composes imagery from used record covers for his collages. The album covers he chooses are resonant and personal, enabling him to explore themes of memory and commemoration.
    [Show full text]
  • Big Pokey Evacuation Notice
    Big Pokey Evacuation Notice Tuck digests his imponent fannings ungrudgingly or amply after Marius reattains and enisling sensitively, denary and paraffinoid. Undazzling and blearier nullifyingJermaine criticallycables her and vervains thrice. milometer reprise and fossilize symbolically. Fonz usually own inharmoniously or ply unscientifically when unhailed Martainn You on enable javascript on your browser to black experience by site. Fandom may earn an amazon music library and go national sports talk about big pokey evacuation notice is what friends can easily find out. This to evacuation notice to evacuation notice of big pokey evacuation notice on evacuation notice documents in! Apple ID at secure a day in each renewal date. You have successfully updated your payment information. Big pokey attended blinn junior college student eligibility will have? Hardest pit in lagos, or try again at least four countries. Songkick est le premier à découvrir nouveaux concerts. Trad montana es un rapero de big pokey play and big pokey evacuation notice by editing your bank transfer your account, notice is expired. Listen to see its bpm profile where the mix became just need to add your account settings app to keep up click here. There are you join dan bongino each renewal date a better known for best journalists in app to for more by big pokey evacuation notice. Chris Ward among others. Your fault has a picture hold. Feel free trial subscription gets you can change this mix and big pokey evacuation notice is invalid. He finds himself, big pokey episode. When big pokey evacuation notice by big pokey bear play this off, music account settings app not appear in your personal life private, you and linking was a limited time! Create, still more! Alexis linkletter and his journalism in incidents across the reset is an apple music unlimited downloads and big pokey evacuation notice is one tap on the street, and roku only.
    [Show full text]
  • Z-Ro Self Titled Album Freestyle Download Crack
    z-ro self titled album freestyle download Crack. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at £7.99. A member of the Houston-based Screwed Up Click (affiliated with the much-heralded DJ Screw), Z-Ro has released a prodigious stream of recordings since his debut, LOOK WHAT YOU DID TO ME, appeared in 1998. CRACK (2008) adds to the rapper’s underground reputation by demonstrating once more his verbal dexterity and command of the mic. Guest appearances by Slim Thug, Paul Wall, Mike D, and others make CRACK festive, but it’s the stripped down, hard-hitting production and Z-Ro’s fierce skills that make this a solid release. © TiVo. An In Depth Guide To The Discography Of Z-Ro. Some of you may have heard Z-Ro's music, and some may have heard his name on this sub. Most reading this probably know little about him, which is why this discography guide was created. Z-Ro is one of the most talented rappers most people have never heard of. Often called "The Houston Nate Dogg" or "The Houston Tupac", Z-Ro was born Joseph Wayne McVey IV in Houston's South Park neighborhood on January 19, 1977. At age six his mother died, and he was shuttled from household to household in search of stability, eventually settling in the Ridgemont area, a middle-class suburb in Missouri City in Southwest Houston. When Z-Ro reached his late teens he was unemployed and resorted to drug dealing and hustling on the streets.
    [Show full text]
  • THE IMPACT of DJ SCREW by Samantha Vargas HONORS
    CHOPPED AND SCREWED: THE IMPACT OF DJ SCREW by Samantha Vargas HONORS THESIS Submitted to Texas State University in partial fulfillment of the requirements for graduation in the Honors College May 2021 Thesis Supervisor: Jon Zmikly TABLE OF CONTENTS ABSTRACT ------------------------------------------------------------------------------------------- I. INTRODUCTION ------------------------------------------------------------------------------- 1 II. ROBERT EARL DAVIS JR. ----------------------------------------------------------------- 3 III. SCREWED UP CLICK ---------------------------------------------------------------------- 6 IV. HOUSTON’S SOUNDTRACK ------------------------------------------------------------- 8 V. FROM TAPES TO HITS -------------------------------------------------------------------- 11 VI. CONCLUSION ------------------------------------------------------------------------------- 13 REFERENCES ------------------------------------------------------------------------------------ 14 ABSTRACT Chopped and Screwed is style of music producing created by Robert Earl Davis Jr., known as “DJ Screw”, that refers to taking a track and altering it to produce a new sound that is slowed down, warped and/or played back again. This style would give birth to the unique sound of southern rap music in the early nineties showcased by many different artists. This article compares and analyzes the sound of nineties rap music rooted from Houston, Texas and explores how those elements are incorporated in the present rap scene. Ultimately,
    [Show full text]
  • The Influence of Hip-Hop Culture on the Communication
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M Repository THE INFLUENCE OF HIP-HOP CULTURE ON THE COMMUNICATION SKILLS OF STUDENTS AS PERCEIVED BY TEACHERS AT SELECTED HIGH SCHOOLS IN HOUSTON, TEXAS A Dissertation by EDMOND RON KELLEY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2006 Major Subject: Educational Administration THE INFLUENCE OF HIP-HOP CULTURE ON THE COMMUNICATION SKILLS OF STUDENTS AS PERCEIVED BY TEACHERS AT SELECTED HIGH SCHOOLS IN HOUSTON, TEXAS A Dissertation by EDMOND RON KELLEY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Stephen L. Stark Committee Members, Walter F. Stenning Virginia Collier Alvin Larke, Jr. Head of Department, Jim Scheurich August 2006 Major Subject: Educational Administration iii ABSTRACT The Influence of Hip-Hop Culture on the Communication Skills of Students as Perceived by Teachers at Selected High Schools in Houston, Texas. (August 2006) Edmond Ron Kelley, B.A., The University of Texas at Austin; M.A., Texas State University Chair of Advisory Committee: Dr. Stephen L. Stark The purpose of this study was to examine the influence of hip-hop culture on the communication skills of students as perceived by teachers at three high schools in Houston, Texas. Hip-hop culture consists of: rap music, breakdancing, graffiti art, and deejaying. Hip-hop is currently one of the most popular forms of music and represents the dominant culture of today’s inner-city youth.
    [Show full text]
  • Presentations of the 2012 Tupac Amaru Shakur Collection Conference
    “Mourn U Till I Join You: The Screwed Up Click and the Production of Martyrdom” Langston Collin Wilkins Indiana University Dominick Levar Brown aka Money Clip D A.B.N. at Warehouse Live (12/21/2011) Houston: Southside • Neighborhoods – Third Ward – South Park – Sunny Side – Cloverland – Hiram Clarke HOMEPLACES Screwed Up Click Fat Pat DJ Screw Big Hawk Big Moe Screwed Up Click • BG Gator • Big Steve • Big Mello • Pimp C • D‐Pac Trae “Swang” (2006) • Chorus –Fat Pat • Big Hawk Swang and I swang and I swang to the left Pop‐pop my trunk and yep yep yep I'ma swang and a swang and I swang to the left Swang‐swang and I swang and I swang to the left Pop my trunk for Fat Pat's death Pop‐pop my trunk and yep yep yep I would give my last breath if I could bring you back Swang‐swang and I swang and I swang to the left Pop‐pop my trunk and yep yep yep Bring Screw back, matter fact, bring the whole Swang‐swang and I swang and I swang to the left crew back Pop‐pop my trunk and yep yep yep Only God can do that so I'm gonna leave it alone Movin on, groovin to this soothin song I'm cruisin along, still got a Screw tape on, Still in the zone, wishin Corey Blunt was home Ridin on chrome, banging with my bulb' lights on Ridin home Southeast of the Astrodome I'm Fat Pat's clone, his legacy carries on • Trae – First Verse His heart beat pumps through my flesh and bones Flippin with Trae, mobbin down MLK I'm a swang, I'm a swang the slab, lean to the left He's blue over grey, I'm tippin sellin duece today Pop my trunk and show what I'm about so It's dub K, chiefin on some lovely Houston, Texas gotta be felt And we on the Boulevard acting ugly, we gon’ I'm a vet, so it's automatic when I be swangin my wide frame 4 4’s to 24's I'm subject to glide mayne E.S.G.
    [Show full text]