DOCSLIB.ORG

Eminem 1 Eminem

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. He released his first album since 2004's Encore, titled Relapse, on May 15, 2009. Eminem is the best-selling artist of the decade on the US Nielsen SoundScan,[4] and has sold more than 80 million albums worldwide to date, making him one of the best-selling music artists in the world.[5] In 2010, Eminem released his seventh studio album Recovery. It became Eminem's sixth consecutive number-one album in the US and achieved international commercial success, charting at number one in several other countries. It stayed at number-one on the US Billboard 200 chart for five consecutive weeks and a total of seven weeks.[6] [7] Recovery was also reported by Billboard to be the best-selling album of 2010, making Eminem the first artist in Nielsen SoundScan history to have two year-end best-selling albums.[8] Eminem 2 Eminem was ranked 79th on the VH1 100 Greatest Artists of All-Time.[9] He was also ranked 82nd on Rolling Stone magazine's list of the 100 Greatest Artists of All Time [10].[11] He was also named the Best Rapper Alive by Vibe magazine in 2008.[12] Including his work with D12, Eminem has achieved nine No. 1 albums on the Billboard Top 200, 7 solo (6 studio albums, 1 compilation) and 2 with D12.[13] Eminem has had 13 number one singles worldwide. In December 2009, Eminem was named the Artist of the Decade by Billboard magazine.[14] His albums The Eminem Show, The Marshall Mathers LP, and Encore (in order) ranked as the 3rd,[15] 7th,[15] and 40th[16] best-selling albums of the 2000–2009 decade by Billboard magazine. Also according to Billboard, Eminem has two of his albums among the top five highest selling albums of the 2000s. In the UK, Eminem has sold over 12.5 million records.[17] Eminem has also sold more than 33 million track downloads and 39.6 million albums in the United States alone.[18] In 2010, MTV ranked Eminem as the 7th biggest icon in pop music history.[19] During 2010, Eminem's music generated 94 million streams, more than any other music artist.[18] "Love The Way You Lie", the second single from 2010's Recovery was the best-selling single of 2010 in the United Kingdom even though it did not reach number 1 there, the first time this has happened in the UK since 1969. [20] Early life Eminem was born Marshall Bruce Mathers III on October 17, 1972 in Saint Joseph, Missouri, as the only child of Deborah R. Nelson Mathers-Briggs and Marshall Bruce Mathers, Jr.[21] He is of Scottish,[22] English, German, Swiss, Polish, and possibly Luxembourgian ancestry.[23] His father abandoned the family when he was 18 months old, and he was raised solely by his mother in poverty. By the age of 12, Mathers and his mother had moved between various cities and towns in Missouri (including Saint Joseph, Savannah, and Kansas City)[24] before they settled in Warren, Michigan, a suburb of Detroit. After procuring a copy of the Beastie Boys album Licensed to Ill as a teenager, Mathers became interested in hip hop, performing amateur raps at age 14 under the pseudonym "M&M" and joining the group called "Bassmint Productions" and released their first EP, Steppin' Onto The Scene. They later changed their name to "Soul Intent" and around 1995 they released their first single called "Fuckin' Backstabber" under the record label Mashin' Duck Records.[1] Although he was enrolled at Lincoln High School in Warren, he frequently participated in freestyle battles at the now-defunct Osborn High School on Detroit's east side.[25] Despite a well-documented struggle succeeding in a predominantly African-American industry, he gained the approval of underground hip hop audiences.[1] [21] [26] After repeating the ninth grade twice due to truancy and near-failing grades,[27] he dropped out of high school at age 17. In 1991, Mathers' maternal uncle, Ronald "Ronnie" Nelson, committed suicide via shotgun wound to the head. Mathers was very close to his uncle, and was devastated at his death; today, he sports a tattoo reading "Ronnie R.I.P." on his upper left arm.[28] Musical career 1992–1998: Early career and Infinite Mathers was initially signed to FBT Productions in 1992, run by brothers Jeff and Mark Bass. Mathers also held a minimum-wage job of cooking and dishwashing at the restaurant Gilbert's Lodge at St. Clair Shores for some time.[29] In 1996, his debut album Infinite, which was recorded at the Bassmint, a recording studio owned by the Bass Brothers, was released under their independent label Web Entertainment.[30] Eminem recalled, "Obviously, I was young and influenced by other artists, and I got a lot of feedback saying that I sounded like Nas and AZ. 'Infinite' was me trying to figure out how I wanted my rap style to be, how I wanted to sound on the mic and present myself. It was a growing stage. I felt like 'Infinite' was like a demo that just got pressed up."[31] Subjects covered in Infinite included his struggles with raising his newborn daughter Hailie Jade Mathers while on limited funds and his strong desire to get rich.[32] Early in his career, Eminem collaborated with fellow Detroit MC Royce da 5'9" under Eminem 3 the stage name Bad Meets Evil.[33] After the release of Infinite, Eminem's personal struggles and abuse of drugs and alcohol culminated in an unsuccessful suicide attempt.[1] With the release of The Slim Shady EP, Mathers was accused of imitating the style and subject matter of underground rapper Cage.[34] [35] Jimmy Iovine, CEO of Interscope Records, requested a demo tape of Eminem's after Eminem placed second at the 1997 Rap Olympics. Eminem had also won Wake Up Show's Freestyle Performer Of The Year award helping him acquire a record deal.[36] Iovine played the tape for record producer Dr. Dre, founder of Aftermath Entertainment. The two began recording tracks for Eminem's upcoming major-label debut The Slim Shady LP, and Eminem made a guest performance on the album Devil Without a Cause by Kid Rock.[1] Hip-hop magazine The Source featured Eminem in its "Unsigned Hype" column in March 1998.[37] 1997–1999: The Slim Shady LP According to Billboard Magazine, at this point in his life Eminem had "realized his musical ambitions were the only way to escape his unhappy life". After being signed to Aftermath Entertainment/Interscope Records in 1998, Eminem released his first major studio album, The Slim Shady LP, heavily based on the production by Dr. Dre, one year later in 1999. Billboard praised the album as "light years ahead of the material he had been writing beforehand".[38] It went on to be one of the most popular albums of 1999, going triple platinum by the end of the year.[39] With the album's popularity came controversy surrounding many of the album's lyrics. In "'97 Bonnie and Clyde", he describes a trip with his infant daughter, disposing of his wife's body. Another song, "Guilty Conscience", ends with his encouraging a man to murder his wife and her lover. "Guilty Conscience" marked the beginning of the friendship and musical bond that Dr. Dre and Eminem would share. The two label-mates would later collaborate on a line of hit songs, including "Forgot About Dre" and "What's the Difference" from Dr. Dre's album 2001, "Bitch Please II" from The Marshall Mathers LP, "Say What You Say" from The Eminem Show, "Encore/Curtains Down" from Encore and "Old Time's Sake" and "Crack a Bottle" from Relapse. Dr. Dre would go on to make at least one guest appearance on all of Eminem's studio albums under the label Aftermath.[40] The album has now been certified 4 times platinum by the RIAA.
Recommended publications
  • In the High Court of New Zealand Wellington Registry

    In the High Court of New Zealand Wellington Registry

    IN THE HIGH COURT OF NEW ZEALAND WELLINGTON REGISTRY I TE KŌTI MATUA O AOTEAROA TE WHANGANUI-Ā-TARA ROHE CIV-2014-485-11220 [2017] NZHC 2603 UNDER The Copyright Act 1994 EIGHT MILE STYLE, LLC BETWEEN First Plaintiff MARTIN AFFILIATED, LLC Second Plaintiff NEW ZEALAND NATIONAL PARTY AND First Defendant GREG HAMILTON Second Defendant STAN 3 LIMITED AND First Third Party SALE STREET STUDIOS LIMITED Second Third Party Continued Hearing: 1–8 May 2017 and 11–12 May 2017 Appearances: G C Williams, A M Simpson and C M Young for plaintiffs G F Arthur, G M Richards and P T Kiely for defendants A J Holmes for second third party T P Mullins and C I Hadlee for third and fourth third parties L M Kelly for fifth third party R K P Stewart for fourth party No appearance for fifth party Judgment: 25 October 2017 JUDGMENT OF CULL J EIGHT MILE STYLE v NEW ZEALAND NATIONAL PARTY [2017] NZHC 2603 [25 October 2017] AND AMCOS NEW ZEALAND LIMITED Third Third Party AUSTRALASIAN MECHANICAL COPYRIGHT OWNERS SOCIETY LIMITED Fourth Third Party BEATBOX MUSIC PTY LIMITED Fifth Third Party AND LABRADOR ENTERTAINMENT INC Fourth Party AND MICHAEL ALAN COHEN Fifth Party INDEX The musical works ............................................................................................................................. [8] Lose Yourself .................................................................................................................................. [9] Eminem Esque .............................................................................................................................
  • Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March

    Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March

    Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend.
  • Things Have Changed Bob Dylan

    Things Have Changed Bob Dylan

    Things have changed Bob Dylan Gm Gm A worried man with a worried mind I’ve been walkin’ forty miles of bad road Cm Cm No one in front of me and nothing behind If the Bible is right the world will explode Gm Gm D7 There’s a woman on my lap and she’s drinking I’m tryin’ to get as far away from myself as I can D7 champagne Gm Gm Some things are too hot to touch Got white skin, got assassin’s eyes Cm Cm The human mind can only stand so much I’m looking up into the sapphire tinted skies Gm D7 Gm Gm D7 Gm You can’t win with a losing hand I’m well dressed, waiting on the last train Eb D7 Gm Eb D7 Gm Feel like falling in love with the first woman I meet Standin’ on the gallows with my head in the noose Eb D7 Eb D7 Puttin’ her in a wheelbarrow and wheelin’ her down the Any minute now I’m expectin’ all hell to break street loose Gm Gm People are crazy and times are strange People are crazy and times are strange Cm Cm I’m locked in tight, I’m out of range I’m locked in tight, I’m out of range Gm D7 Gm Gm D7 Gm I used to care but - things have changed. I used to care but - things have changed. Gm This place ain’t doin’ me any good Gm Cm I hurt easy, I just don’t show it I’m in the wrong town, I should’ve been in Cm Hollywood You can hurt someone and not even know it Gm Gm D7 Just for a second there I thought I saw something The next sixty seconds could be like an eternity D7 move Gm Gm Gonna get lowdown, gonna fly high Gonna take dancin’ lessons, do the jitterbug rag Cm Cm All the truth in the world adds up to one big lie Ain’t no shortcuts, gonna dress in drag Gm D7 Gm Gm D7 I’m in love with a woman that don’t even appeal to me Only a fool in here would think he got anythin’ to Eb D7 Gm Gm prove Mr.
  • Boynton Beach ALF (SCA 2020-008)

    Boynton Beach ALF (SCA 2020-008)

    Item: III.A.1 FUTURE LAND USE ATLAS AMENDMENT STAFF REPORT SMALL SCALE AMENDMENT PLANNING COMMISSION PUBLIC HEARING, MAR. 13, 2020 A. Application Summary I. General Project Name: Boynton Beach Assisted Living Facility (SCA 2020-008) Request: CL/3 to CL-O/CLR Acres: 3.59 acres Location: South side of Woolbright Road, 250 feet west of South Jog Road Project Manager: Gerald Lodge, Planner 1 Applicant: HDRS, LLC Owner: Hardial Sibia Agent: Gentile Glas Holloway O’Mahoney & Associates, Inc. Staff Staff recommends approval with conditions based upon the following Recommendation: findings and conclusions contained in this report. II. Assessment & Conclusion The amendment proposes to change the future land use designation on a 3.59 acre site from Commercial Low with an underlying Low Residential, 3 units per acre (CL/3) to Commercial Low- Office with an underlying Congregate Living Residential (CL-O/CLR) to facilitate the development of a congregate living facility (CLF). The amendment proposes to change the allowable density from 3 to 8 units per acre for the calculation of a higher bed count, for a maximum of 69 beds. The applicant is proposing a condition to limit the site to a maximum of 8 units per acre, for the purposes of calculating CLF beds. In addition, the amendment proposes to change the commercial future land use from CL to CL- O. In 2007, the CL designation was approved with a condition limiting the site to a maximum of 50,000 sq. ft. of non-retail uses only. The applicant wants to retain a Commercial designation for the option to develop office uses as an alternative.
  • Reporter Privilege: a Con Job Or an Essential Element of Democracy Maguire Center for Ethics and Public Responsibility Public Scholar Presentation November 14, 2007

    Reporter Privilege: a Con Job Or an Essential Element of Democracy Maguire Center for Ethics and Public Responsibility Public Scholar Presentation November 14, 2007

    Reporter Privilege: A Con Job or an Essential Element of Democracy Maguire Center for Ethics and Public Responsibility Public Scholar Presentation November 14, 2007 Two widely divergent cases in recent months have given the public some idea as to what exactly reporter privilege is and whether it may or may not be important in guaranteeing the free flow of information in society. Whether it’s important or not depends on point of view, and, sometimes, one’s political perspective. The case of San Francisco Giants baseball star Barry Bonds and the ongoing issues with steroid use fueled one case in which two San Francisco Chronicle reporters were held in contempt and sentenced to 18 months in jail for refusing to reveal the source of leaked grand jury testimony. According to the testimony, Bonds was among several star athletes who admitted using steroids in the past, although he claimed he did not know at the time the substance he was taking contained steroids. In the other, New York Times reporter Judith Miller served 85 days in jail over her refusal to disclose the source of information that identified a CIA employee, Valerie Plame. The case was complicated with political overtones dealing with the Bush Administration’s claims in early 2003 that Iraq had weapons of mass destruction. A number of other reporter privilege cases were ongoing during the same time period as these two, but the newsworthiness and the subject matter elevated these two cases in terms of extensive news coverage.1 Particularly in the case of Miller, a high-profile reporter for what arguably is the most important news organization in the world, being jailed created a continuing story that was closely followed by journalists and the public.
  • The Life & Rhymes of Jay-Z, an Historical Biography

    The Life & Rhymes of Jay-Z, an Historical Biography

    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
  • A FOURTH GRADE EXPERIENCE Donald G. Saari Northwestern University, Departments of Mathematics and of Economics August, 1991

    A FOURTH GRADE EXPERIENCE Donald G. Saari Northwestern University, Departments of Mathematics and of Economics August, 1991

    A FOURTH GRADE EXPERIENCE Donald G. Saari Northwestern University, Departments of Mathematics and of Economics August, 1991 “We’ve been trying to tell you you’re wrong!” With this severe reprimand, a fourth- grade girl, hand on hip, expressed the class’ growing exasperation with the slow witted mathematics professor who couldn’t understand the obvious. Dr. Diane Briars, Director of Mathematics, invited me to discuss modern mathematics with the teachers and several student groups as part of the Pittsburgh Public Schools’ observance of the national “Mathematics Awareness Week.” It was easy to prepare for classes fromtheeighthgradeon–agrabbagofunexpectedexamplesfrom“chaos,” mathematical astronomy, properties of surfaces, and statistical paradoxes could illustrate mathematical themes while capturing their imagination. But I fought to disguise my growing panic when informed that I was to talk to a fourth grade class. What does one say to fourth graders? It didn’t help to discover on arrival at the East Hill’s Elementary School that the core of my intended audience, Ms. Chamberlain’s class of very young children, all were sufficiently short to inspire extreme caution while walking about. I have found that the mathematics of decision making – in particular, voting – serves as a useful vehicle to introduce a variety of mathematical concepts starting with elementary counting, to algebra and geometry, and then, on a research level, certain delicate mathe- matical symmetries. So, I figured I could survive my allotted forty minutes by describing a counting problem caused by a voting example. The posed problem involved an hypothetical group of fifteen children permitted to watch only one TV show for the evening.
  • 5 Ferndale Studios at Epicenter of Detroit's Music Recording Industry

    5 Ferndale Studios at Epicenter of Detroit's Music Recording Industry

    5 Ferndale studios at epicenter of Detroit’s music recording indu... http://www.freep.com/article/20140119/ENT04/301190085/fern... CLASSIFIEDS: CARS JOBS HOMES APARTMENTS CLASSIFIEDS SHOPPING E-CIRCULARS DAILY DEALS ADVERTISE SUBSCRIBE News Sports Michigan Business Entertainment Life Better Michigan Obits Help MORE: MitchAlbom.com e-Edition Health care reform Detroit bankruptcy High School Sports Find what you are looking for ... SEARCH 5 Ferndale studios at epicenter of Detroit's music recording industry 2,507 people recommend this. Sign Up to see what your friends 10:10 AM, January 19, 2014 | 10 Comments Recommend recommend. Recommend 2.5k 4 A A Recommend Most Popular Most Commented More Headlines 1 Ex-Chrysler engineer cleared in sex case sues defense attorney after 7 years in prison 2 New Yorker article quotes L. Brooks Patterson with choice words about Detroit 3 Detroit Lions headquarters will be quieter with Jim Caldwell in charge 4 Freep 5: Great restaurants for Polish food 5 Dave Birkett: 5 Senior Bowl players who could interest the Detroit Lions Most Viewed Vintage King Audio technician Jeff Spatafora looks over a refurbished Neve 8078 audio mixer at its warehouse in Ferndale. Vintage King specializes in providing vintage equipment to studios across the country. / Jarrad Henderson/Detroit Free Press By Brian McCollum Nestled along a half-mile stretch in Ferndale, among the rugged Detroit Free industrial shops and gray warehouses, is the bustling epicenter of Press Pop Music Writer Detroitʼs music recording scene. FILED UNDER Most of the thousands who drive every day through this area by 9 Where in the world is Jessica Biel? | DailyDish Entertainment Mile and Hilton probably donʼt even realize itʼs there: a Jan.
  • Assisted Living Facility Directory

    Assisted Living Facility Directory

    AGENCY FOR HEALTH CARE ADMINISTRATION ASSISTED LIVING FACILITY DIRECTORY Date: 8/1/2018 OSS Beds = 11,337 Private Beds = 91,015 Total Facilities = 3,091 FIELD OFFICE: 01 OSS BEDS = 128 PRIVATE BEDS = 3096 FACILITIES = 52 COUNTY: OSS BEDS = 108 PRIVATE BEDS = 1386 FACILITIES = 25 ESCAMBIA License #9099 ASBURY PLACE LIC TYPE : ALF Expiry: 9/16/2018 4916 MOBILE HIGHWAY CAPACITY : 64 12:00:00 AM PENSACOLA, FL 32506 OSS BEDS : 0 PRIVATE BEDS : (850) 495-3920 ADM: Ervin, Billy 64 File #11964608 OWNER : Asbury Pensacola PLC LLC License #9576 BROADVIEW ASSISTED LIVING FACILITY LIC TYPE : ALF ECC Expiry: 7/10/2019 2310 ABBIE LANE CAPACITY : 72 12:00:00 AM PENSACOLA, FL 32514 OSS BEDS : 0 PRIVATE BEDS : (850) 505-0111 ADM: CARMACK, KAYLA 72 File #11965185 OWNER : SSA PENSACOLA ALF, LLC License #9354 BROOKDALE PENSACOLA LIC TYPE : ALF LNS Expiry: 9/13/2020 8700 UNIVERSITY PARKWAY CAPACITY : 60 12:00:00 AM PENSACOLA, FL 32514 OSS BEDS : 0 PRIVATE BEDS : (850) 484-9500 ADM: HODSON, JENNIFER 60 File #11964959 OWNER : BROOKDALE SENIOR LIVING COMMUNITIES, INC. License #11667 EMERALD GARDENS PROPERTIES, LLC LIC TYPE : ALF LNS Expiry: 10/4/2019 1012 N 72 AVENUE CAPACITY : 55 12:00:00 AM PENSACOLA, FL 32506 OSS BEDS : 0 PRIVATE BEDS : (850) 458-8558 ADM: MILLER, KRISTINA 55 File #11967671 OWNER : EMERALD GARDENS PROPERTIES, LLC. License #5153 ENON COUNTRY MANOR ALF LLC LIC TYPE : ALF LMH Expiry: 1/10/2019 7701 ENON SCHOOL RD CAPACITY : 25 12:00:00 AM WALNUT HILL, FL 32568-1531 OSS BEDS : 10 PRIVATE BEDS (850) 327-4867 ADM: Hall, Tamron : 15 File #11910468
  • '2009 MTV Movie Awards' Honors Ben Stiller with 'MTV Generation Award'

    '2009 MTV Movie Awards' Honors Ben Stiller with 'MTV Generation Award'

    '2009 MTV Movie Awards' Honors Ben Stiller With 'MTV Generation Award' Premiering LIVE Sunday, May 31, 2009 at 9pm ET/8pm CT From The Gibson Amphitheatre in Universal City, CA SANTA MONICA, Calif., May 22 -- The 2009 MTV Movie Awards pays tribute to Ben Stiller with the coveted "MTV Generation Award" for his amazing contribution to Hollywood and for entertaining the MTV audience for years. From generation to generation, Ben Stiller has kept fans rolling with laughter since bursting onto the scene in Reality Bites and his early film roles and cult classics such as There's Something About Mary, Meet the Parents, Dodgeball: A True Underdog Story, Tropic Thunder and now this summer's eagerly anticipated Night at the Museum: Battle at the Smithsonian in theaters May 22, 2009. The "MTV Generation Award" is the MTV Movie Awards' highest honor, acknowledging an actor who has captured the attention of the MTV audience throughout his or her career. Past recipients include Adam Sandler, Mike Myers, Tom Cruise and Jim Carrey. Hosted by Andy Samberg, the 2009 MTV Movie Awards will be broadcast LIVE from the Gibson Amphitheatre in Universal City, CA on Sunday, May 31st at 9p.m. ET/8p.m. CT. "From The Royal Tenenbaums to Zoolander, Ben is a comedic chameleon, able to make the leap between drama and full-out comedy while maintaining his own unique brand of subversive humor," said Van Toffler, President of MTV Networks Music/Logo/Film Group. "That versatility and talent has earned him legions of devoted fans over the years which makes him a perfect recipient for the 'MTV Generation Award.' Whether it's fighting a monkey in a museum or licking a decapitated head, nothing is ever off-limits for him and that's the type of warped creative vision and commitment MTV loves to reward." "I am honored to be getting the 'Generation Award,'" said Ben Stiller.
  • Big Daddy Kane It's Hard Being the Kane Mp3, Flac, Wma

    Big Daddy Kane It's Hard Being the Kane Mp3, Flac, Wma

    Big Daddy Kane It's Hard Being The Kane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: It's Hard Being The Kane Country: UK Released: 1990 MP3 version RAR size: 1796 mb FLAC version RAR size: 1116 mb WMA version RAR size: 1379 mb Rating: 4.2 Votes: 256 Other Formats: DMF VOC AC3 AHX AU MIDI MP3 Tracklist A1 It's Hard Being The Kane (12" Version) B1 It's Hard Being The Kane (Powerlab Mix) B2 It's Hard Being The Kane (Quakerlab Mix) Other versions Category Artist Title (Format) Label Category Country Year It's Hard Being Big Daddy 9 21774-2 The Kane (CD, Cold Chillin' 9 21774-2 US 1991 Kane Maxi) It's Hard Being Big Daddy 0-21774 The Kane (12", Cold Chillin' 0-21774 US 1991 Kane Maxi) It's Hard Being Cold 9 19536-4, Big Daddy 9 19536-4, The Kane (Cass, Chillin', US 1991 4-19536 Kane 4-19536 Single) Cold Chillin' Big Daddy Hard Being The PRO-A-4506 Cold Chillin' PRO-A-4506 US Unknown Kane Kane (12", TP) Cold It's Hard Being Big Daddy Chillin', PRO-CD-4897 The Kane (CD, PRO-CD-4897 US 1990 Kane Reprise Single, Promo) Records Related Music albums to It's Hard Being The Kane by Big Daddy Kane Big Daddy Kane - Wrath Of Kane Big Daddy Kane - Ain't No Stoppin' Us Now Kieran Kane - Kieran Kane Big Daddy Kane - It's A Big Daddy Thing Big Daddy Kane - Smooth Operator / Warm It Up Kane Big Daddy Kane vs.
  • Racial Gatekeeping in Country & Hip-Hop Music

    Racial Gatekeeping in Country & Hip-Hop Music

    Portland State University PDXScholar University Honors Theses University Honors College 12-14-2020 Racial Gatekeeping in Country & Hip-Hop Music Cervanté Pope Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Mass Communication Commons, Race and Ethnicity Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Let us know how access to this document benefits ou.y Recommended Citation Pope, Cervanté, "Racial Gatekeeping in Country & Hip-Hop Music" (2020). University Honors Theses. Paper 957. https://doi.org/10.15760/honors.980 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Racial Gatekeeping in Country & Hip-Hop Music By Cervanté Pope Student ID #: 947767021 Portland State University Pope 2 Introduction In mass communication, gatekeeping refers to how information is edited, shaped and controlled in efforts to construct a “social reality” (Shoemaker, Eichholz, Kim, & Wrigley, 2001). Gatekeeping has expanded into other fields throughout the years, with its concepts growing more and more easily applicable in many other aspects of life. One way it presents itself is in regard to racial inclusion and equality, and despite the headway we’ve seemingly made as a society, we are still lightyears away from where we need to be. Because of this, the concept of cultural property has become even more paramount, as a means for keeping one’s cultural history and identity preserved.